The Conservatory Track Year 2
Conservatory Year 2 will continue to expand on the various skills and techniques rooted in Stanislavski’s The Method. Techniques from Sanford Meisner, Uta Hagen, and Stella Adler will continue to be integrated into the work. In this class the actor will also begin working with more advanced and sometimes physically rigorous techniques such as Micheal Chekov, Tadashi Suzuki, Anne Bogart and Frederick Matthias Alexander. Year 2 is dedicated to improving the whole instrument, which by its essential parts is both physical and psychological.
Actors will learn:
- To outline their real aims
- Acting with energy, imagination and creative power
- The use of the body and sensation
- How to bring the techniques into practice
Our Goal is:
- To provide the actor with practical tools and knowledge necessary to support their ambition to grow as an actor and to succeed as a professional
- For the actor to acquire a reliable approach to performing truthful human behavior on-camera, on stage and on-mic
- To nourish and encourage the actor’s unique creative individuality
- To unleash the actor’s latent creative and expressive capacities
* Chekhov training and practice opens artistic imagination, strengthens the capacity for intense inner action, and loosens habitual restrictions to expressive emotion. Through this an actor gains freedom from the limitations of the subjective personality and has endless opportunities for the creative authorship in any circumstance.
* Tadashi Suzuki training focuses on developing the actor's center through a series of movement exercises and intense vocal exercises as well as concentration through stillness. The exercises are like slow but constant moving yoga poses.
* Anne Bogart’s Viewpoints technique is a technique of composition that provides a vocabulary for thinking about and acting upon movement and gesture. It allows performers to work on isolated issues that lie outside the standard narrative framework of modernist acting. The actor learns to better correlate space, shape, time, emotion, movement, and story. Bogart removes emphasis on emotion and story, because they are generally fundamental to an actor's mindset.
* Alexander Technique teaches actors become aware of their habits of 'misuse'. Alexander work includes hands-on work as part of the process. The teacher observe what the actor is doing and offer suggestions and directions for the actor to create improved use. By changing habits of misuse to improve their performance the actor creates new ways of performing so as to not impede actions.
* Stanislavski's system (The Method) is a progression of techniques used to train actors and actresses to draw believable emotions to their performances. The method that was originally created and used by Constantin Stanislavski from 1911 to 1916 was based on the concept of emotional memory for which an actor focuses internally to portray a character's emotions.