Blog
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Acting Class - How to achieve Internal Motivation
Wed, Mar 06, 2019 -
Internal Motivation
Wed, Aug 22, 2018 -
More 'Outside-In'
Wed, Aug 22, 2018
Through an objective process, students discover three or four character types derived from their "look" and personal qualities. Then working on targeted material, actors learn to fulfill each character in order to present themselves as a complete, castable, acting package.
Emphasis is on the actor rather than performer improvisation. Organic behavior and emotional truth are valued over cleverness. Teaches physical and vocal risk-taking, impulse work and a personal sense of truth. Numerous improv formats are motivated by both internal and external circumstances.
Int./Advanced - SB
14 Sundays 6:30 - 9:30 PM (Pacific)
Begins January 26th
Acting on impulse in the now!
Being compelled to respond from pure awareness, from intense looking and listening. Acting from necessity in the moment. Behavior that happens, not behavior that is planned – resulting in an alive, dynamic, electric performance.
Learning what do just before an entrance – how to make strong choices and internalize them right before a character enters. Based on the actor’s choices of intention and obstacle, the right emotional preparation carries the actor through the scene without any need for pushing or falsification.
The classic "outside-in" discipline employing a unique collection of celastic masks in the French tradition. Precise character development from the mirror leads to full-blown characters. Behind the "safety" of the mask, actors learn to work boldly and break through habitual limitations.
Adv. Beginner/Advanced – SB
14 Thursdays, 12 Noon-2:30 pm
Begins January 30th
Framing, set terminology, playing opposite emotion, vulnerability in close-up – this is a thorough introduction for actors, both new to camera and cameras vets. A vital class to create consistently dynamic and surprising work on camera. Great for auditions, too!
"Throughout his work with the PSO he exercised his exceptional taste, knowledge and expertise in both the fields of drama and music. Working closely with Peter was among the most personally enjoyable and rewarding experiences I've had in my long tenure with the (Pittsburgh) Symphony. Whether partnering on selecting repertoire, writing and editing scripts, or brainstorming the complex elements that made these evenings memorable, I always found Peter to be a great co-worker, a warm and compassionate leader, and a man of broad knowledge and impeccable taste. He left a remarkable legacy at the CMU Drama School."Robert Moir, Vice-President for Artistic Planning