CLASS DESCRIPTIONS

Students will develop a solid base and technique from which to build a character by utilizing Method exercises including the Painting Exercise, Animal Exercise, Need Exercise, Emotional Memory Exercise, Private Moment for the Character and Improvisation.

Students will learn how to make informed and creative choices that serve the play by stimulating the imagination in the continual search for the subtext and the character’s logical behavior. Students will gain the tools to better engage their impulses and imaginations to analyze text thoroughly and accurately, resulting in the ability to create rich and believable characters.

This class focuses on learning how to prepare your script and make informed choices. Students will learn how to analyze scenes and scripts, find and notate beats, understand a character’s action and make informed choices based on the psychological, emotional, physical and environmental aspects of the character and script. A necessary tool to understanding how to approach a role.

Scene Study is the study of scenic structure and the rhythms, language and plot that the writer uses to convey and explore that structure. What type of language is used and how does your character use it? How does the actor determine what a particular scene is asking them to do, in terms of the actions and tactics of the character and circumstances they are living in? What process must the actor go through to fulfill these requirements, in a powerful, specific, living way? Method and Sensory work, physical awareness exercises and improvisational techniques will be woven into the step-by-step process of working on and developing scenes and monologues.

If you can make someone laugh, you have them in the palm of your hand. The quickest path between two people is laughter. Studying comedy has many benefits for your acting craft and career, in addition to your Method Acting classes. Comedy and Improv classes can help you live more truthfully in the moment as an actor, help with artistic collaboration, talking with casting directors at auditions, audition slates, improv based auditions like commercials, as well as comedic TV and film projects in general. The entire course is rooted in improvisation fundamentals with the 12-week long class broken up into several week sections of: 

• Improv
• Sketch Comedy / Characters
• Comedy in Social Media
• Stand Up Comedy
• Practical application of comedy in commercials and sitcoms (where audition breakdowns say they are looking for actors with comedy experience).

Let’s find your funny and give you techniques you can use practically to further your artistic career!

This class is designed to teach the basic tenets of Method Acting through the tools and techniques of improvisation. Improvisation provides the actor with powerful acting tools that help explore material and scenarios on a spontaneous and collaborative level. Students delve into a diverse range of unscripted scenarios aimed to stimulate the imagination, develop characters and engage the impulses of discovery.

This course is designed to assist the actor in finding the best monologues suited to them individually. The actors will work on several 1-minute and 2-minute audition monologues (the standard audition time) over the course of the semester. Students will explore classical and contemporary monologues, learn how to break the monologues into beats, analyze the text, and employ blocking. In addition, audition attire, headshots and resumes will be covered. The actor will leave the class prepared with audition monologues to get the job.

In this class, students learn how to incorporate Method exercises into the scene, along with dissecting the scene and making it more specific while allowing their natural impulses to flow. Be prepared to go deep into the work and be challenged.

Several years before Stanislavsky understood the logical evolution of his discoveries and insights into how an actor and a director needs to analyze a play, what is today called active analysis, Lee Strasberg intuited Stanislavsky’s ultimate practice from his acting classes with Richard Boleslavsky and Maria Ouspenskaya at the American Laboratory Theatre in the mid-1920’s and effectively demonstrated in his legendary productions with the Group Theatre.

The organic form of a truly acting and thus theatre-based rehearsal process is built on the use of rehearsed improvisations, called etudes by Stanislavsky. These etudes “actively” analyze and explore the dramatic action of the play – i.e., the given circumstances, events, facts, objectives, psycho-physiological-action, counteraction and adaptations or adjustments, the text-based means through which an actor builds a the playwright’s character.

Before one can “actively analyze” a play one must know how to break its text into the bits of action that make up the actual play, which is “hidden” or embedded “sub textually” in the text. This is the architecture of acting and directing and the basic material of theatre. This class teaches the student the process of action analysis as the foundation of acting.

The Conservatory Performance is for students in their final semester of study in the Two-Year Conservatory Program. In this class, students work with a director to create a showcase of scenes that display their growth as artists in the two years they have studied at the Institute.

This course covers the foundations of acting for film & television on camera. We will approach the two genres using building blocks to understand both the technical & storytelling aspects of the medium. A camera specific vocabulary will be introduced. Exercises will be assigned to give students a working knowledge of being on camera. After a foundation is set, we will transition into scene work and apply the foundational techniques learned.

This immersive course gives students practical experience with the acting techniques used in most narrative feature films and television series. The class focuses on single-camera productions — the format used for the majority of film and scripted television — as distinct from traditional multi-camera studio productions.

This immersive course is designed to submerge the actor into the experience of working in film, from studio productions to independent sets. Students participate in creating the world of a film shoot as well as mastering organic acting that the camera desires. Focus is on character development, creative freedom, working on impulse yet leaning the rules of continuity, concentration, and endurance for multiple takes.

This course combines on-camera acting training with audition techniques, providing actors with valuable footage for their auditions and reels. Students are encouraged to film their auditions during class, and each week, they will receive a link to access their recorded performances.

Each class begins with Lee Strasberg’s relaxation technique, helping actors achieve emotional and physical ease. Following relaxation, the class will be devoted to taping scenes/monologues and auditions. Common techniques from Method Acting will be used to coach the actors in this process to achieve the best results on camera.

The course will focus on character development, sensory work, and emotional depth to prepare actors for professional Film and TV performances. By the end of this course, actors will gain practical experience, refine their craft, and build a strong foundation for auditions and professional work in front of the camera.

Required Movement class for One- and Two-Year Conservatory students

In Movement for Method Actors, students learn to break down components of physical expression so the actor can access the emotional/daily life of a character as outlined by Lee Strasberg. Course work includes a simple physical warm-up (which can be modified for injury/limitations) followed by a series of exercises connecting emotional life to physical expression. Students explore “actor neutral,” the problems of portraying aging/ infirmity, animal work, qualities of movement, entrances and exits, structural alignment, and more. Students work to increase awareness and range of motion, with regard to Lee Strasberg’s ideal of authenticity and “living moment to moment within imaginary circumstances.” Students have the opportunity to work in large groups, small groups, pairs, and individually. All levels welcome.

Utilizing various techniques, awareness exercises, physical explorations and improvisations this course gives students the tools to better understand how their bodies work and how to use themselves more efficiently and less habitually. By learning how to use relaxation to gain control over their physical expression, the actor can use themselves more effectively and creatively and thus slip more easily into the skin, the essence, the passions and needs of the character in response to the circumstances of the scene.

As actors we physically embody the character. This class uses the Feldenkrais method of body awareness to allow the actor to develop and master this ability to embody and give full, unique life to whoever they play. As physical artists the ability to be aware as we act involves sensing ourselves on multiple levels at once so the character created is perceived as multi dimensional and rich. The class connects to the sensory and relaxation work done in the Method acting classes. The class also explores themes such as creativity, challenge and being in the moment through improvisation, short scenes and studies.

In Stage Combat I, students will learn and explore the components of unarmed stage combat: the choreographed illusion of violence. The course will cover safety measures and techniques as outlined by the Society of American Fight Directors (SAFD), as well as a host of other topics relevant to performing stage combat safely and bravely in line with professional standards.

Under the tutelage of a Certified Teacher with the SAFD, students will earn training time toward the 30 contact hours required to take the SAFD Skills Proficiency Test (offered at the end of Combat 2). In Stage Combat I, students will form the foundation of this training by acquiring, practicing, and implementing stage combat techniques, culminating in the performance of a complex piece of stage combat choreography.

Students will work upon the foundational skills acquired in Stage Combat I, bringing them up to a performance level. The focus of this class will be to learn safe and dramatically effective techniques of unarmed staged violence at an advanced level. Students will perform a scene involving a complicated fight routine.

At the end of the term, there will be a fight test where students present their work to an outside judge, a recognized Fight Master from the Society of American Fight Directors. If the students’ work meets the SAFD’s criteria for safety and dramatic effectiveness, the students are recognized with a certification of proficiency – a benchmark well-recognized and respected in the industry across the world. More information about the SAFD can be found at safd.org.

Created specifically for dancers, movers, and actors, this course focuses on building strength-based mobility, safe alignment, and technical control. Students are guided through a gentle, restorative flow, perfect for all levels. This class begins with grounding and centering in mindfulness through guided meditation and breathwork. It gently builds through stretching and simple yet beautiful sequencing, balance practice, and final deep stretch set to music intended to relax the body & mind.

This class is a physical conditioning class designed for the actor who wants to increase range of motion, connectivity, and flexibility, and address areas of weakness or misalignment in an actor-friendly environment. Through a series of specific exercises we will work methodically to gain greater understanding of our alignment, strength, stretch, and potential, as well as how to work safely and effectively.

Accommodations can be made for specific injury, sensitive areas, or structural limitations. Each student will begin at their unique starting point and will work according to the needs of their individual instrument. This class is meant for all levels of physicality – dancer, “gym rat,” or complete novice. All are welcome.

Tai chi is a Chinese martial art, health and meditation practice based on the Taoist principles of balance and harmony. Tai chi has been an integral part of Lee Strasberg’s Method for training actors for over fifty years. Tai chi practice supports and complements Method Acting training, as they both share a foundation based on relaxation, awareness, and intention. Understanding how to create an effective action – an action that fulfills the intent set or given with the least amount of effort – is one of the goals of tai chi. Through the physical practice, students develop a greater understanding of how focus, intention, energy and effort affect performance.

This course focuses on foundational dance techniques, terminology, and rhythm in a fun, supportive environment, introducing basic steps, coordination, body conditioning and strengthening, and body awareness to those who have little to no prior dance experience. The class aims to build confidence on the dance floor by breaking down complex moves and teaching how to combine them into simple routines, often with an emphasis on musicality, technical proficiency and creative expression. Classes vary by style, such as ballet and Broadway-style jazz, while sharing the goal of providing a solid base for future dance training.

This is an open level class. Everyone from the new beginner to the experienced dancer is welcome and will be challenged according to their experience/physical abilities. Strong emphasis is placed on structural alignment so that dancers can work correctly without causing injury (as well as learning how to work with an injury without doing further damage). Exercises are designed with the members of each specific class in mind. While the class is based in traditional classical ballet, a strong emphasis is placed on the actor-dancer integrating their acting training.

Students will leave with a working understanding of terminology and vocabulary, gained via oral and visual cues and repeated exercises. Students will become more confident and spatially aware, and gain greater awareness of correct vs. incorrect postural alignment. Students will have a strong enough understanding of Ballet basics to be able to enter a dance studio and confidently take a beginner level Ballet class – at least!

This is an open level class where each student will be challenged at their own level.

Each class begins with a set warm up from the Musical Theatre & Jazz tradition, pulled predominantly from American Dance Machine, Luigi technique, and an amalgam of NYC-based Jazz classes. Grounded in correct alignment and understanding the body, both as an integrated whole and in isolated movements, to gain greater expression and command of the instrument. The warmup will include standing stretches, balance, foot work, and floor work: stretch/strength, isolations, and turning technique.

We will build our movement vocabulary, do short phrases across the floor, jumps leaps and turns, followed by original choreography from Broadway shows in which the story is set and we learn choreography with story. Students will learn two or more combinations created in the contemporary Jazz style wherein the actor-dancer learns the movements and the story emerges individually through the dancing. The focus of this class is on increasing range of motion, expression and JOY!

The Musical Theatre Scene Class is designed to teach the actor how to blend the three disciplines of acting, singing and dancing into a seamless act of storytelling, focusing on personifying the character through these disciplines. This class teaches the student how to work in an ensemble, learning at least three group numbers with relative ease. There is a performance at the end of the semester therefore classes will mostly be treated as rehearsals for the performance. The musical scenes selected (duets, trios and quartets) will be taken out of the context of a variety of shows and presented in a musical evening with an audience.

This course introduces students to the world of Commedia dell’arte. Students will explore the foundational elements of the major Commedia dell’arte characters and how they function in the form. Students will learn to perform physical comedy, or lazzi, and will learn how to work physically in Commedia masks.

After exploring the tradition, students will work to apply it to the current culture to create their own interpretation of the character. The emphasis of the course will be on the physical exploration of discovering and building Commedia inspired scenes, or scenario, through improvisations, games and exercises. The course will also explore the fundamentals of putting together a show comprised of several scenario. By the time we conclude students should feel that that they can create and perform a Commedia scenario

This course will cover period-style movement, physical dramaturgy, and exercises for creating period characters — including a collection of training practices, exercises, and tools that provide a base foundation for students to expand on and implement in their academic and professional careers.

Participants will develop an understanding of the physicality, subtleties, hidden conditions, and unspoken desires of a character in polite society. In addition, students will cultivate an imagination susceptible to psychophysical transformation and the embodiment of a period character by applying these methods and tools. Students will ultimately focus on creation of a period character from another era, both as individuals and an ensemble, through the application and practice of period-style movement scores, protocols, and dance.

This course endeavors to impart a vocal technique that is open, free, flexible, lively and possessing an extensive and colorful range. Vocal production is a dynamic vocal technique specifically designed to compliment the work of the Method actor. The goal of the course is to develop an open and embodied instrument and provide the artist with an effective “neutral,” allowing for optimal exploration of human emotion and physical expression.

This class begins its training process in the recognition and release of constricting, tension-related habits that impede the full, free, flexible, and expressive use of the vocal instrument. This release and recognition is achieved through exploration and exercises in relaxation, alignment, respiration, phonation, support, registration, resonation, and articulation.

The actor has two primary ways to embody a character and express themselves as the character: the body and the voice. The saying, “The voice is the window to the soul,” is not exaggeration and, for actors, it is even more true than for most.

This course will familiarize student with the voice as an expressive tool and help them to begin to use it effectively for that purpose. Work will be done on breathing, supporting the voice, and producing voice in a way that can prevent vocal injury, while also helping the actor express their deepest feelings fully. The nature of the course is practical and students learn how to integrate vocal technique with their acting by doing scene work in combination with vocal exercises and learning about vocal technique.

Examples of the kinds of texts that are used are those of John Patrick Shanley, Tony Kushner, Julia Cho, and Brendan Jacob-Jenkins.

This course will explore a range of accents and dialects that are useful for the working actor on stage and screen. Students will use speech foundations, including IPA, prosody, and oral posture in acquiring these accents. Accents will be applied to short scenes and monologues, with the goal of bringing each accent into the fully-realized embodiment of a character.

All students will learn core dialects ranging from Standard British (RP), Cockney, and MLE/Estuary London to American accents like Deep South and New York City. Depending on class make-up, other appropriate accents may be explored, such as Irish, West Indian, African, Australian.

Lee Strasberg placed Singing in the curriculum for the enhanced development of the actor’s voice. The purpose of this course is to introduce voice technique and establish good vocal habit through relaxation, alignment, respiration, phonation, support, registration, resonation, and articulation. Additionally, a daily warm-up routine will be developed suitable for auditions both spoken or sung.

It should be noted that, even for acting auditions, actors are often asked to sing. For those who already have a singing practice, the course is structured to build on the individual’s current repertoire. The songbook, developed by the students in conjunction with the teacher, will continue to grow and augment over subsequent semesters so that it covers a vast range of audition needs. The aim is to create a body of work that will prepare the singing student for the demands of the musical theatre industry and the actor for the extreme dramatic demands of voice on stage.

Required History class for One- and Two-Year Conservatory students

This course is a survey of the history of the theatre from primitive origins to modern times. Through the use of historical documents, contemporary writings, and illustrations of architecture and costumes, the major periods of theatrical history are seen from an artistic and cultural point of view.

Theatre as a cultural force set in its historical context is a major theme of this study. Theatre will be explored as a reflection of the time and culture that produced it. The course will examine the pivotal theatre artists, plays and movements which shaped the history of the art form. This is a required class for the One- and Two-Year Conservatory programs.

Stanislavsky to Strasberg: The Development of The Method provides a clear understanding of the development of Stanislavsky’s work in both the Russian and American theatres over the last 100 years. Instruction includes, but is not limited to, lectures, class participation, Q&As, audio/visual presentations, and acting exercises.

This class will examine various plays in context of the biographies of their authors, as well as the social and societal contexts of the plays themselves.

Students will learn how an enhanced analysis of a play and its author can better inform the use of the Method Acting techniques an actor chooses to employ in their work. An understanding of the full context of a play affects emotional response and choice of Method Acting exercises.

This class is designed to broaden the students’ knowledge of female playwrights and offer them a variety of material the students have not encountered before and can use for scene work in their Method acting classes. The three sections are designed to stretch the performer and give them an opportunity to work on three different styles of plays and performance. The sections are: Historical/Period Drama, Solo Performance, and Contemporary Naturalism.

The course aims to expose students to female playwrights who write in a range of styles, to identify and deepen the student’s wheelhouse, and to stretch the student’s range as far as it can go in hopes of identifying new, undiscovered strengths.

A study of Anton Chekov’s plays and characters is essential for any student of the Method. His work was a major influence on both Stanislavsky and Lee Strasberg, as well as many great writers to this day. Woody Allen cites Chekov as his biggest influence, as did Neil Simon. The Seinfeld Show and all of its off-spring are totally Chekov in their lively mix of laughter and tears. Students table-read and discuss his greatest plays in class while presenting rehearsed scenes and monologues every week.

Students will learn three verse speeches – early, middle and late. Shakespeare wrote clues into the verse which help us understand the psychology and emotional life of the character.

Suggested reading: Thinking Shakespeare by Barry Edelstein

The plays of William Shakespeare are the foundation for the last 400 years of theatrical history and great acting. A working knowledge of Shakespeare is essential for any serious student. In this class we will table-read, analyze and discuss four Shakespeare plays while presenting rehearsed scenes and speeches every week.

Al Pacino once said to Lee Strasberg, “I could act this stuff if only it weren’t for all these words,” and Lee responded, “that’s Shakespeare.” There is no need to fear the language. Beginners are always welcome.  This is a 2-hour History and Acting Elective.

Cinema stands out as one of the art forms that is truly universal and unites us across all cultures. This class provides a survey of both American and international films that will explore the history and interrelationships between them.

Each week we will study a pair of films; one American film and one international film, starting from the dawn of the film industry.  We will examine how American film impacted other countries and also how American Film was influenced by the work of international filmmakers.

In this course, actors will open up a new form of expression and character exploration. With a focus on character development derived from personal experience and sensorial writing, actors will complete the first draft of a full length play or two drafts of an original, one-act play. Actors will leave empowered to not wait for a role to come to them, but to go out and write a role for themselves.

In Writing for Actors II, students come away with a fully realized piece of writing for stage or screen. Their work will be born of their imagination, and shaped by having been read aloud and explored in a supportive and encouraging environment of equally curious artists looking to develop their own unique voices. Students’ scripts will have a cohesive narrative, three-dimensional characters, stakes, conflict, and a compelling resolution.

This class is designed to prepare the Method Actor for auditioning in a variety of casting situations. Students will learn to refine their type in addition to learning the basics of marketing through headshots, resumes, and finding an agent.

Students will be introduced to a variety of techniques and audition materials suitable for specific types of work such as plays, movies, soap opera, commercials and more. Students will develop a thorough understanding of the casting process from answering a casting call, to taking direction at the audition, through the call back, and ultimately, the offer of a role.

The audition landscape for film & television has changed dramatically since 2020. In this course, students will build our audition skillset and assemble the tools necessary for self-tapes, live ecocast/Zoom auditions, (the rare) in-person audition, and how to prepare for testing/chemistry reads. The class will also cover the technical nature of submissions. Students will be on camera every class and outside prep will be necessary as the semester progresses.

This class is all about finding the material that lights you up and shows you at your best. Together we’ll dig into plays, explore your type, and uncover monologues that feel authentic and exciting. Along the way, you’ll practice audition technique for both theater and TV/film, learning how to bring specificity, boldness, and truth to every piece. By the end of the course, you’ll walk away with a polished audition book — a tangible repertoire of material that’s ready to go whenever opportunity knocks.

This class is designed to help bridge the gap between studio training and the professional demands of the actor. It will help students develop a strategic plan to get work and will provide students with a better understanding of industry expectations and how to translate their in-class work into a successful career and become self-sufficient artists after finishing their training.

This class encourages students toward specific career goals, creates a framework for their achievement and ensures that they are prepared for what the industry requires of them. Students leave with a greater understanding of themselves within the industry, as well as the tools to tackle auditions in various media and meet with representation.

Topics of discussion include but are not limited to: agents, managers, casting directors, breakdowns, creating a reel, managing your time efficiently, unions, websites, headshots and resumes, and more.

Learning about the business of theatre, TV, and film is tough because the industry changes swiftly and frequently and there are very few rules — but there are plenty of tools to help you navigate the industry. From understanding contracts, unions, producing your own work, agents, managers, headshots, resumes, websites, reels, becoming a multi-hyphenate and more… show business isn’t that scary, it’s just what you make of it.

So, how do you make the best of an industry where there are no rules and everything changes? Let’s develop your career and create an individualistic approach to finding success as creative in showbusiness. After this class, you will have all the actor tools needed to put your acting craft to use to book work! You will feel confident entering the industry and ready to showcase your best self.

This class covers the ins and outs of learning to produce a show — whether it be a one-person play or a large-scale musical. This class is taught by a working professional theatre director and producing artistic director with 20+ years of experience.

When students complete this course, they will know: how to create a budget and fundraising campaign; how to build a marketing campaign; how to create and share casting breakdowns, choose sides, and work with industry agents and managers; the positions needed to build a solid creative and production team; how to find performance venues, insurance, and understand contracts.