Dates Times and Prices

METHOD MAY UNIT
May 10th -June 1st

METHOD STUDIO Week 1
Friday, May 10th 7-10 pm
Saturday, March 11th 10-6 pm

METHOD HOMEWORK Week 2
Monday  11th 10 – 12 noon or 7.30 – 9.30 pm (Technique)
METHOD STUDIO Week 2
Friday 17th  7-10 pm
Saturday 17th 10-6 pm

METHOD HOMEWORK Week 3
Monday 20th
10 – 12 noon or 7.30 – 9.30 pm (Technique)
METHOD STUDIO Week 3
Friday  22nd, 7-10 pm
Saturday 23rd 10-6 pm Method

METHOD HOMEWORK Week 4
Monday  27th
10 – 12 noon or 7.30 – 9.30 pm (Technique)
METHOD STUDIO Week 4
Friday 31st  7-10 pm
Saturday  1st June, 10-6 pm

 

Theatre Deli
107 Leadenhall Street
London
EC3A 4AF

All the classes over the 4 weeks are one unit.
The classes are in groups.
STUDIO
HOMEWORK

The 4-week fee is £310.

METHOD UNITS RUN DURING THE MONTHS
JAN    MARCH   MAY  SEP   NOV

    METHOD STUDIO Technique & Scene Study
           The 1st STUDIO day on Friday covers an opening talk and the first exercise by Lee Strasberg, Basic Relaxation. Then, the following Saturday, and Sense Memory as well as scene study. The Monday HOMEWORK follows this. The Method Acting unit provides 50 hours of classes and 44 hours of Studio/ 6 HOMEWORK (online), with the option to double up the HOMEWORK classes at no extra cost.

    METHOD HOMEWORK (Online) Technique
           Each Monday, in either am or pm class, the primary work of both technique and scene study unfolds. The purpose of starting with homework is to replicate the challenges of the actor in the 21st century. Self-taping and a modern film /TV set are very dry spaces where you must find the means to work from within. With a self-tape or your preparation for a role, the primary is also set up to unlock the text and character and how to construct an interpretation that you can bring to the lens at home, for a self-tape, or the lens on set.  If you can’t embrace these primary steps of acting, your craft and career will struggle creatively and professionally. The other benefits of the homework classes are they’re all recorded and stored in a private space so you can watch and catch up with classes you can attend. Plus, it gives an important sense of how your work as an actor comes across to the camera. Homework is challenging but thus very rewarding.

    METHOD STUDIO – VOICE & MOVEMENT
             We now expand both Technique and Scene Study by expanding more face-to-face work. An effective methodology is also dependent on understanding and using the other creative muscles of your craft. Both your voice and movement skills are engaged as well. This also brings into play text and the ability to pull apart and understand the structure and the more profound meaning to be worked with. However relaxed and inspired you might be able to become, if you never have the flexibility in your voice and body or a greater grasp of the role, you will underachieve professionally. 

    METHOD STUDIO 
    Now in the thick of it, each day begins with technique, where you shall build further your technique and ability to improvise from your abilities—truly engaging the purpose and potential of both Basic Relaxation & Sense Memory. With scene study that follows each morning of technique, you can see how you translate the technique into the character and bring alive the text. Each scene work enlightens the details and creative flexibility of Strasberg’s work.
    These intensive Studio days offer the space to test how much you can bring from your preparation and practice to the space that would be the stage or film set. The intensive is to mirror what is possible and required to fulfil your craft and potential as an actor.

    VOICE & MOVMENT

    To let your creativity be revealed to the camera or on stage, the muscles of your voice and the movement of you body require the ability to be your thoughts, impulse and emotions in action.

    The Craft Intensive Units are run by Emma Woodvine a leading voice teacher in both the Industry and Drama Schools & Elizebeth Balanager a Leading Movement teacher in the UK.

    Emma trained as an actress at Guildhall School of Music and Drama (GSMD) and completed her MA in Voice with Patsy Rodenburg, also at GSMD.

    She also works as a voice and dialect coach in theatre, film and television. Freelance work includes among others: the RSC, Young Vic, Barbican, Royal Court, Almeida, Manchester Royal Exchange, Opera North and West End theatres.

    Lizzie is a Movement Coach at RADA. She has taught pure movement and social dance extensively at LAMDA, GSMD, Drama Centre London, Mountview, MMU and for Pennsylvanian State University and the NYT.

    As a Movement Director and Choreographer, her theatre credits include The Winters Tale for Cheek by Jowl, Rhinoceros at the Royal Court, the National Theatre Studio, Watford Palace, the Soho Theatre and many others, as well as final year productions within drama schools and productions for the Vienna Children’s Theatre. She regularly works with the conceptual artist Anna Brownsted devising theatre in situ in association with the Cambridge Junction Theatre.

    As a Movement Specialist she coaches through her own company Lizzie Ballinger&Co. Lizzie is writing a book based on the work of pioneering movement specialist Trish Arnold and her mentorship with award-winning Movement director and choreographer, Jane Gibson to be published with Bloomsbury 2022.

    She also mentors movement practitioners, both online and in person.

    To hear more about Lizzie Ballinger’s work, follow the link to a recently recorded podcast:

    https://podcasts.apple.com/gb/podcast/the-history-of-actor-training-in-the-british-drama-school/id1535319541#episodeGuid=Buzzsprout-6579379

    2022
    Next Craft Dates TBA
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