Beyond working on their lines, there are four areas that students should identify in their scripts for this upcoming weekend. We will feel substantially more comfortable with a scene when we clearly know what is going on in the scene. It’s best to write out on the back of a script/or separate piece of paper what the want/objective, relationship, place, and moment prior are. Keep in mind there are plenty of other things to consider in a script- but these four areas will be a good place to start in more clearly defining what is happening in the scene.

Want/Objective: What is their want in this scene? To be clear- the want needs to be something they need from the other person, and it has to be something specifically achievable in the scene. The want is consistent throughout the scene, but the way in which they try to achieve their want/objective will vary through scene.

Relationship: Relationship is how we feel about the other character in the scene. It’s not merely the factual component (e.g. brother, friend)- but how we feel (for e.g. a brother we are deeply jealous of, a friend who makes us insecure, etc). Once we’ve defined the relationship, a substitution can be used (e.g. is their a person in my life who I’m deeply jealous of?).

Place: Similar to relationship, the place is not merely the factual setting but how it makes us feel. For example, instead of merely identifying that the setting is a forest- specify if it makes you feel threatened, at peace, lonely, etc. Once you have established the feeling toward the place then you can identify a substitution.

Moment Prior- What was happening in the scene right before the scene began? To be clear- it should be what happened directly before the scene began (not an hour ago, a couple days ago). It’s important to remember that in order to create believable characters/behavior, then we have to know that their life didn’t simply begin when the lights came up on the stage, or when the camera started rolling. To go a bit further, make sure the moment prior is something fairly strong. Try to get rid of dull verbs (for e.g. walking, just reading, eating) and replace with something stronger/more specific (for e.g. sneaking, cramming for a test, stuffing myself after not eating for last 2 days).

We began this class with physical warm-ups with music, stage lighting, and sound to free themselves and their imagination. Physical movement included stretching and moving to various music styles: rock, techno, Native American, film soundtrack, and of course polka. After the warm-up, we did relaxation with poetry. Students read poetry selections from Langston Hughes, Edgar Allan Poe, Shakespeare- the goal was for students to work on making each word clear and resonant. Some actors have a habit of rushing lines, and so the poetry can be very helpful to re-enforce the notion that every word is important, and has to be clearly articulated. Moreover, we worked on relaxation and finding out text can carry tremendous meaning when we say it simply, and relaxed. The work was so encouraging with the Saturday Teens that we’re going to incorporate some of this work into the live presentation at the end of the session.

The 2-4 teen group worked on personal objects this week. Personal object is where you recreate a meaningful object from your life (for e.g. an animal) using the five senses. We saw some really truthful, full work emerge from the exploration of the objects.

The class started with physical warm ups using music, stage lighting, and various sounds to free up their imagination. Physical work including stretching, and movement exercises to various music styles: rock, techno, Native American, film soundtracks, and polka. The next part of the class was devoted to relaxation into different overall. For example, students worked on an overall of cold, and wind- then applied this work to an audition scene where they are lost at camp and have to say a couple lines of dialogue. The key to sensory work is to be specific, and to not force or indicate the state. For example, if we’re trying to create the overall of sickness we don’t need to indicate sickness by rubbing our temples- rather, we can recreate this through just being specific of what a headache feels like- where exactly it hurts, etc. We did a few improvs, including the popular “Passing the Note”- the focus of improvs this week was on objective. Students had to put their primary focus on achieving what they wanted in the scene, and letting the behavior/reactions emerge from pursuit of the objective. We wrapped things up with the Chair Exercise- this is where students channel their stage fright toward making emotionally full, and compelling performance. The feelings of fear, and anxiousness, can lead to brilliant work when we relax and just simply say the few lines of dialogue- not worrying about “putting on a show”, or anything.

The main focus of this class was getting students comfortable with the concept of relaxation. Sometimes as actors we need to relax the body so that we can fully express what we’re truly feeling. We subsequently added the overall of fatigue to the relaxation- the key is to locate specific ways in which the fatigue manifests (e.g. headache, sore feet, lack of focus, etc.). We then did character work, and used animal qualities to expand beyond our normal physical, vocal patterns. The animal work can really benefit certain actors toward breaking out of their certain patterns by working off of something that is so foreign to them (like an animal). In script class, we really worked on voice and breath control. The goal is to gain a freedom of expression for the actor within the scene. As we progressed through the scenes, we really worked with actors on “filling their moment”, and taking their time. There is a habit with some actors of rushing the big moments because of a discomfort of fully engaging in an intense moment. So in the class, we really took our time to identify those moments and allow ourselves the space and freedom to really commit to these parts.

This past weekend, we put a particular emphasis on character work. There were a lot of fun sound, and movement, exercises to start class. These exercises help to get the students to have a looseness in their work that can subsequently be applied to the more serious work. The next exercise we did was Camp Fire- this is an exercise where students imagine they are at a camp fire, and start to hear different scary sounds. The key concept we emphasize in this exercise is how not to anticipate the fear. Rather, students found that when they engage in the real life behavior the feelings of fear, excitement, etc. become much more heightened and believable. The final exercise of the class was personal object work which is where students recreate, through the five senses, an object that has particular meaning for them. Lots of wonderful, emotionally full work emerged from this exercise as students engaged with objects that had so much emotional resonance for them.

This was a really good class. Students continued with their group improvs. The key in their scenes was to have a defined conflict (two wants that intersect), different relationships, and a clearly defined place. Then students had to choose a genre out of their comfort zone. The key in the first few weeks is to get the students to feel comfortable to make big, committed choices without the paralyzing fear or looking foolish, or failing. The key thing we emphasize is that it’s okay for students to make big mistakes at the studio- there is a popular slogan in improv “Fail big”- which really holds true for all acting. Consequently, students had to pick a genre to do the scene that was not in their usual comfort zone- musical theater, children’s show, gritty drama, etc. I was actually quite impressed with the level of commitment the students had who got to do their improvs.

Next we watched Jeff’s Advanced Lab do the “Animal Exercise”- this is an important exercise which aids in capturing the physicality of a character. Actors have to choose an animal which relates to their character, and then recreate that animal on the stage. It was really valuable for the students to see the level of commitment, and specificity, that our Advanced Teen Lab actors had toward their work.

Finally, we worked on scripts. The main focus right now for the scripts is to relax, and simply connect to the material. While there is tremendous value in making strong, committed choices toward a script, in these first readings we just want students to relax and simply allow the text to work on them. If we relax, say certain lines, and make a personal connection then it’ll slowly start to work on us.

This past week we worked on the scripts, and did some group improv work. The group improv work is designed specifically to help re-enforce the fundamentals that students should be applying to their scripts: relationship, status, place, and what they want (objective). Students broke into groups of 3-4 and had to create a scene with 3 different relationships (e.g. brother who they’re jealous of, Mom who does everything for their child, etc.), a clear conflict (two wants that intersected), and a clearly defined place. Students had to do the scene twice- once, normally- the second time they had to pick a particular genre to do the scene in. The reason we do genres is to help break patterns that students develop, and to get them out of their comfort zone. Students will never know what they’re capable of until they try out something completely out of their comfort zone- consequently, students picked genres out of their comfort zone whether it be musical theater, sitcom, horror, silent movie, etc.

We then worked on the students scripts. The key was looking for the relationships, wants, and place within the scene. If you’re helping with your child on their script- these are the three things they should define. To be clear- relationship is not merely the facts (e.g. brother, friend, sister, etc.)- but rather how one feels towards that person (e.g. a brother who they’re deeply jealous of because the parents shower them with all the love). Place is also not just the fact- but rather how one feels toward that place (a place where they feel threatened, a place where they want to escape)- once that is defined, then we can work on the substitutions. Really good class.

What is being planned for this Spring Session?

The core of the studio always remains the same- creating honest, committed, and expressive work that merges a student’s own uniqueness into the role. The technique work (2-4 PM) remains the same- Stanislavski- based training that focuses students on using their own experience, and imagination, to create full work. Relaxation, place work, substitution, and sensory are the fundamentals of the studio as it creates greater fullness with consistent and dedicated practice (I’m still taking a class to this day to work out). To that point, we do notice some of our students possessing tremendous emotional depth/honesty who are nonetheless hesitant to make committed, expressive choices in their work. It is for this reason that we are offering character development and improv/script work. Below I will be describing what both of these options are, and how they will benefit our student actors.

Can you briefly explain character development?

When I was an undergrad back at NYU, one of the most exciting courses I took was a character development class with Mel Gordon. I have a lot of incredible memories from this course- including having to observe patients at Bellveue Mental Health Hospital! This course was tremendously helpful in breaking certain physical and vocal patterns that oftentimes inhibited me as an actor. I have seen certain actors come alive with personality and energy when they had to adopt the persona of someone else in their work. For this reason, I am having Broadway veteran T.V. character actress, Khanya Mkhieze, work with students on developing 2-3 distinct characters through observation, improvisation, and written work. Students will present 2-3 characters that they have developed from real-life, or their imagination, at the end of the session.

This option will be enormously beneficial to some of our long-term regulars who possess a tremendous emotional instrument, but struggle with characters different than themselves. The reality is that oftentimes actors will be called upon to play a role that requires accents, different ways of moving, pace of talking, physical mannerisms, etc.- this option is designed to aid our students in having the confidence to make these strong choices while still maintaining emotional honesty, and uniqueness, in the work.

Click Here to Register for Technique/Character Development

It says improv/script work? Does this mean it’s improv or script work?

Both. Improv helps actors gain a greater understanding and emotional connection to the role they are playing. Text can be very formidable for actors early on in their training. Time and again I see actors so full of personality and feeling lose it the moment a script is placed in their hand. This happens because students implicitly believe there is a certain way the scene needs to go, and will subsequently play the intended result. Improv is a fantastic way for students to focus on their scene partner, and getting what they want- rather, than on achieving a certain desired emotional state that creates a one-dimensional and flat performance. While we have always incorporated improv into the technique portion of class, this option goes further in creating interesting behavior and greater depth in the work. This new option will allow the improv to become a much more prominent part of the studio, while also enhancing student’s ability to breathe fresh life into their scripts.

At the end of the session, we will present a filmed presentation containing excerpts of the improv work- along with examples of how students blended it into award-winning film, and stage scripts.

Click Here to Register for Improv/Script Work and Technique

What is being planned for this Spring Session?

The core of the studio always remains the same- creating honest, committed, and expressive work that merges a student’s own uniqueness into the role. The technique work (10AM-12 PM) remains the same- Stanislavski- based training that focuses students on using their own experience, and imagination, to create full work. Relaxation, place work, substitution, and sensory are the fundamentals of the studio as it creates greater fullness with consistent and dedicated practice (I’m still taking a class to this day to work out). Beyond that, we want the students to apply this work to all aspects of life. It is for this reason that we are now offering students the opportunity to write their own material (scenes, monologues) OR take improv this session. Students will still have the opportunity of working on previously written scripts, if they’d like.

Why we’re allowing students to write material this session?

The simple reason is that the students oftentimes create more interesting, funny, and relevant material than what scripts typically offer for their age. Numerous students have come to us with scripts that they have been working on at home- these scripts are so full of personality, energy, and excitement. So we thought it’d be great if we gave students the opportunity to work on scenes/monologues with a writer, and then to have the opportunity to have these performed for a live audience at the end of the session. Students will be able to apply so much of what they are learning in acting technique: character/imagination work, sensory, playing the objective toward creating an engaging piece.

That being said, we understand that some students are more interested in acting previously written scripts. For that reason, we are giving students the option of creating new material, or performing previously existing scripts (in some cases, students will be asked to do both).

Click Here to Register for Technique/Script Work

What are the benefits of taking improv? What do they work on?

Improv is a fantastic way for students to become more comfortable, spontaneous and assertive in their work. Moreover, it is a great way for students to develop strong character work by breaking certain physical, or vocal patterns. We made improv an option last year, and I have been incredibly impressed with the progress students have made in this course. This option has been particularly beneficial for students who demonstrate a hesitancy or timidity in performing as it positively encourages them to trust, and follow, their instincts.

Moreover, this option is beneficial to some of our long-term regulars who possess a tremendous emotional instrument, but struggle with characters different than themselves. The reality is that oftentimes actors will be called upon to play a role that requires accents, different ways of moving, pace of talking, physical mannerisms, etc.- this option is designed to aid our students in having the confidence to make these strong choices while still maintaining emotional honesty, and uniqueness, in the work.

Click Here to Register for Improv/Technique