Method Acting Intro Classes
Method Intro is a starting point for any new member, regardless of experience. Starting 4 weeks of classes of Homework & Studio, it takes place on Saturday 10-4 pm.
Over the day, the opening talk, alongside the demonstration/practice/discussion of both basic relaxation and a sense memory exercise, will give you a practical and creative understanding of the core dynamics of the Method.
This allows you to engage in the Homework/Studio unit for three weeks. The Studio sessions are more engaging and a significant proportion of the unit. The primary classes develop & build the foundations of your technique and understanding to step into the STUDIO just as we prepare to walk on the Film Set or a Stage.
That way, when we come into the Studio, you expand on the work in INTRO & HOMEWORK.
Saturday 9th September 10-4.30 pm (STUDIO)
AM. Opening Talk & Intro to Basic Relaxation
PM. Recap. Habits & The Actor. Intro to Sense Memory
Tuesday 12th Sept 7.30 pm – 9.30 pm (ONLINE)
METHOD INTRO FEES
Intro / Studio/Homework £290
The Intro day leads you into The AM or PM HOMEWORK classes. One actor from class is now doing over 200 drama/ 100 advert self-tapes per year. HOMEWORK is where you learn the primary work of METHOD and create the means to work creatively from your home studio. Without teh vital relationship with the demands and craft of the actor, your potato acting career has no future. It is where you learn and do what you must to get to what you want. By primary work, we mean where you learn to build on the technique of Lee Strasberg. You also expand your application into scene work. You only need to attend one Tech & Scene Study class per week for the arch of the classes, but you are welcome to come to more each week; there is no extra charge. Classes run AM or PM, so there is flexibility to work around other demands. From HOMEWORK, we grow into the day Studio Classes on weeks 3 & 4 weekends as you would come on a Film set or a Theatre stage.
SO Homework is to embrace the discipline of acting. Homework builds the truth that the first studio is your own, which becomes your primary creative space to act from.
THEN Studio gives the expansive space to build both technique and scene work. The studio offers the opportunity to play & create more with what is technically evolving. Acting is personal and collective, so working from both spaces enables you to meet each step and each challenge.
AFTER COMPLETION OF THE INTRO CLASSES, YOU THEN COME INTO THE MAIN UNIT
18th Sept – 3rd Oct
METHOD HOMEWORK each week
Monday 10 – 12 noon 0r 7.30 – 9.30 pm (Technique)
Tuesday 10 – 12.30 noon 0r 7.30 – 10 pm (Scene Study)
METHOD / VOICE & MOVEMENT STUDIO Week 2
Saturday 20th 10-6 pm Method
Sunday 21st 10-5 pm Voice & Movement
METHOD STUDIO Week 3
Saturday 27th 10-6 pm
METHOD STUDIO Week 4
Saturday 3rd June 10-6 pm
Sunday 4th June 10-6 pm
107 Leadenhall Street
All the classes over the 4 weeks are one unit.
The classes are in groups.
The 4-week fee is £290.
METHOD UNITS RUN DURING THE MONTHS
JAN MARCH MAY SEP NOV
I want to discuss how you consider the three steps of classes offered in each Monthly Method Acting Unit leading to the Method Studio Intensive.
Acting is about preparation. Firstly, the longer-term objective of developing your instrument and craft and how you construct an approach to any potential acting opportunity in the shorter term. If these can’t effectively be engaged, your work will be random.
Homework is the primary. It also represents the initial dead space in that the actor begins the journey. The dead space represents the initial sense of no natural external stimulation except the text itself. Alternatively, you could consider dead space and inert space. Requiring interaction from you to bring it to life. You have yet to create any relationship in such a primary space to feed off, just like when you receive a self-tape for an audition or prepare to work on a role you have booked. It is how you turn nothing into something. Although you only see obstacles at first, you find the means to unlock the opportunity.
About your instrument, the work is always primary. Each time you engage in relaxation and sense memory. Each time you work yourself experientially, you build and develop your instrument.
As important as the instrument is the relationship between text and character. Like the musician, you should pick different music pieces to practice your craft and expand your vocabulary and understanding. Not to stick to the tunes that you know and like most. In the demands of the industry, this level of sketching sustains you when you have to make quick, creative choices.
Therefore homework is your studio. Without this foundation, you cannot truly grow in this industry—the technical demands in the 21st century present considerable challenges. Consequently, the challenge and discipline of homework are to build the muscles to create with such obstacles rather than just overcome them.
Studio Method – Voice & Movement
The face-to-face work now has true meaning in the context of the homework. The primary homework preparation means that the studio space becomes a studio to explore and expand the preliminary work you have established in homework. It becomes a more organic opportunity to examine the potential of your instrument and your creative process, where you can pull apart and engage both the character and the text—building a richer ability and a greater understanding of yourself and the opportunities of acting.
This also expands into the important parts of an actor’s craft, VOICE & MOVEMENT. To fill the character, the role, and the text with your creative thoughts, impulses and emotions, you need the creative muscles that bring real shape and dynamics to your acting.
The intensity in the Studio days replicates the challenges and opportunities of the camera or the stage. Now you can bring both your primary and process work into the opportunity of two scene slots. Or to immerse and observe fellow class members reaching out to fulfil such a creative challenge. Everybody will work with sense memory and text in the morning, evolving the ability to work from your thoughts, impulses and emotions. To create from a heightened state of self while obtaining the lucidity of creative thinking.
As Stanislavski said, talent is in the choice. Nothing is automatic, particularly in acting. The specific steps of the three-week unit are designed for you to engage and unlock your true creative potential properly. To develop the sensibility and creative muscles to take on the challenges and opportunities of the professional acting industry.
In straightforward terms, the three pillars in each unit are to see how you can raise your game.