BE IN IT FOR THE EXPERIENCE:
Be the type of actor who finds something interesting about every character you play. The type of actor who learns something from each scene you do. Who works hard so they can relinquish control and think as the character. Who trusts themselves and really deals with the circumstances of the character. Who embraces any unscripted moments and brings them into the world of the scene to deal with truthfully. The type of actor who loves to suffer on stage and wants to have an honest experience.
Be that kind of actor.
IN PERSON SCENE STUDY
Every class will include three types of scenes, they are:
1. A Working Scene — This is a scene that is going up for the first time. The actors doing the scene will have worked on it together through rehearsal, and have signed it up for class the week prior. These scenes should be as polished as the actors can get them on their own. When the scene is over we’ll talk about what just happened. After our chat, we’ll get up and work the
scene again moment to moment. Once we’ve finished, the actors will continue to meet and rehearse on their own, incorporating whatever adjustments that were made in class. The scene will be brought back for one final time in the next class.
2. A Bring Back Scene — This is a scene that’s already been worked on in class and is coming back for one more go. When the scene is over, we’ll chat about what happened as the next group sets up their scene.
3. An Audition Scene — At the top of class I will randomly select a student to prepare an audition scene for the end of class. This student will be someone who isn’t already putting up a scene that day. I will supply the student with the scene at roll call and they’ll have the rest of class to work on it. At the end of class we’ll do a “Mock Audition.”
+ Improv Exercises — When the work calls for it, I may bring in some Meisner or Chekhovian acting exercises to address whatever’s happening (or not happening) in the scene. Also, on certain odd days throughout the year, we’ll take a break from scenes and just play around with improv games.
COVID – VACCINATIONS/MASKS:
All students will have to show proof of current vaccination status to enroll in the in-person Scene Study+ classes. Students who cannot prove their vaccination status will be offered online classes.
The studio will observe all current indoor mask mandates enacted by Los Angeles County.
ONLINE MONOLOGUE WORKSHOP
Dates & Times:
The Online Monologue Workshop is offered on Wednesday nights from7pm to 11pm starting August 24th - October. 5th, or Saturday days from 12:30pm-4:30pm starting August 27th – October. 8th. Space is limited.
Description:
Every serious actor needs a good monologue in their back pocket. This workshop will help satisfy that need. Over the course of seven weeks (6 Classes) I will help you find and elevate your monologue. The monologue you choose to work on could be something that you found yourself, or it could be something that I help you find. It could also be something that I help you write by using some kind of source material as inspiration. We’ll use the first phase of the workshop to explore and discover different monologues by reading them aloud and feeling them out. Each student will have to lock in which monologue they’re working on by the end of week three. During the second phase of the workshop we’ll strip down and carve out the truth of each piece by personalizing, imagining and physicalizing. Each actor needs to allow their heart to beat for the material. The last phase of the workshop will be spent preparing for a “mock Talent Showcase” which will take place on the final day. Talent Showcases are the most popular way to obtain an agent or a manager.
ONLINE CLASSES:
In this class, everyone works on different scenes from the same script (film or television) all month long.
Because of this, you continue to participate in your character's journey not only in your scenes but also when watching other students live out different scenes from your same character's life.
This gives the actor time to really adopt their character's point of view, and to make their character's central issue their central issue, marrying themselves to the character.
In the first class we always start off by analyzing the first third of the full script.