Michael Chekhov Acting Studio New York


	The Art of the Actor ~ Application Form Classes at the Studio Workshops
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
	THE ART OF THE ACTOR - COMPREHENSIVE TRAINING IN THE CHEKHOV TECHNIQUE February 8, 2010 - April 28, 2010 September 20, 2010 - December 10, 2010 Mondays: 10 am - 5 pm Tuesdays: 10 am - 5 pm Wednesdays: 10 am - 1 pm Classes: 12 hours Chekhov Technique 3 hours Linklater Approach to Voice and Speech The course is separated into two components. Each one is complete unto itself yet can be considered as sequential training. Actors are welcome to take either or both sections. For students who have completed both components, the training will culminate in a showcase for invited industry. The cost: $3550. for each twelve week component. (payment plans available) COURSE DESCRIPTION The Physical Instrument Description: This course is a psycho-physical approach to acting based on the artistic principles left to us by Michael Chekhov as well as other innovators of the 20th century theater. The technique was developed as a way to apply common and archetypal human conditions to the individuality of the actor. The work is imaginative rather than personal, physical rather than intellectual. We will work with impulse and energy, transformation and creation. All the necessary elements for an inspired performance are living within the artist and only need awakening through the use of images and the body. Goals 1. To experience a living awareness of the human body as an expressive instrument, paying particular attention to its relationship to space and the directions in which we move through the space. 2. To realize that movement or the ability to move is essential to the appearance of life, and that life on stage (as expressed through the body) is an absolute prerequisite to a good performance. 3. To understand that acting is making art, and that all principles of artistic creation such as form, rhythm, tempo, contrast, objectivity, and imagination are necessary for the work of the actor. 4 To develop a critical eye for acting and a vocabulary to speak about it that goes beyond merely liking or disliking it. This appreciation of the art of acting is intended to be useful as a way to objectively evaluate one’s own work. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Characterization Description: We will learn and apply the tools of characterization: Imaginary Center, Personal Atmosphere, Archetype, Imaginary Body, and Psychological Gesture. These are independent yet interrelated tools of the rehearsal process. They allow the actor to realize who is playing the action, and how it should be played. Goals 1. To bring into practice the knowledge that the human being operates with 3 distinct functions of Thinking, Feeling, and Willing. Each of these functions becomes a building block for the transformation into character for the stage. 2. To find clues in the text that will lead to active character choices. 3. To accept that real transformation is the subordination of the actor’s ego to the ego of the character. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Performance Description: We will find ways through scripted material and improvisation to connect to the audience, and to the demands of the present moment. A feeling of Form, Beauty, Ease, and a sense of the Whole (dynamic principals of the chekhov technique) will be explored. These principals are seen as necessary elements to an inspired performance. Goals 1. To offer the actor various perspectives on approaching their work in artistic and objective ways. 2. To understand the world of feeling as sensation and movement. 3. To experience Giving and Receiving as two distinct activities. 4. To encourage and enhance a sense of play in performance. 5. To accept that the performer is at once both character and actor. Click here for the Application Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CLASSES AT THE STUDIO The studio offers ongoing classes for those who want to continue in the work. These classes are open to those who have completed introductory training at the studio. Throughout the year, the studio offers a number of 4 week intensive workshops as an overview of the technique. We work on basic tools and principles. These workshops are limited to 12 actors. The schedule Wedesdays: 2 pm- 5pm Fridays:1 pm-4pm The cost $390 NEXT 4 WEEK WORKSHOP BEGINS JANUARY 13, 2010 contact us at chekhovstudionyc@gmail.com or 917 495 2079 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . OTHER WORKSHOPS 2010 Michael Chekhov Technique ON AUDITIONING an audition intensive for young artists. The goal is to prepare the student for Consevatory and University Theater Department auditions. August 9-21, 2010 60 hours of classes Morning Class: Basic Tools of the Chekhov Technique Afternoon Class: Preparing and Developing the Monolugue Evening Program: Cultural Events, Performances & Seminars Application deadline March 15, 2010 Faculty: Lenard Petit, Mel Shrawder, Bethany Caputo, James Luse $4850 includes housing, seminars, and performance tickets contact us at chekhovstudionyc@gmail.com or 917 495 2079 ..................................................................................................................................................................................................................................... Linklater Meets Michael Chekhov Developing a Character Through Imagery A Two Day Workhop With Andrea Haring and Lenard Petit January 30-31 10am -5pm Fee $375.00 This workshop is an exciting partnership between the rich imagery of the Linklater work with the specific imagistic structures of the Michael Chekhov technique. Andrea Haring (Associate Director of The Linklater Center) will open and free new ways of expression, waking up the full range of your voice, and stimulating your voice’s ability to respond to imagery with the text. Lenard Petit (Artistic Director of The Michael Chekhov Acting Studio) will use the Michael Chekhov imagery of psychological gesture, atmosphere and archetype to physically develop a character. Bring in text from a character you have always wanted to work on but never have. Register Here ______________________________________________________________________________________________________ _____________________________________________________________________________________________________