On this page we list the acting techniques we use in our classes.
Sanford Meisner, Jacques Lecoq, Ivana Chubbuck, Lee Strasberg
The late Sanford Meisner was an enormously influential acting teacher who taught at New York’s Neighborhood Playhouse for fifty years. One of the original members of the Group Theatre, he was part of a generation of American acting coaches who further developed the work of Russian director Constantin Stanislavski.
Meisner Technique Classes
There are three separate Meisner Classes. We suggest students work through all levels to get a solid foundation in the technique.
Meisner Level 1:
An Introduction to the Meisner Technique for the beginner.
Meisner Level 2:
Meisner Technique Intermediate level.
For students who have completed the Introductory class or who have equivalent training and wish to continue and/or those seeking to prepare to enroll in a full-time program.
Meisner Technique Advanced Program:
A powerful session that will introduce you to the Basics of the Meisner Technique through a series of step-by-step improvisations leading up to scene work.
These classes will provide you with a solid base for further Meisner training and will also complement the on-camera film acting class.
These sessions are for Advanced Meisner students who have taken one or two previous sessions or those with equivalent Meisner training from other schools.
Movement, the actor, space, stage and audience
“Improvisation is at the heart of the educational process and is sometimes confused with expression. Yet a person expressing himself is not necessarily being creative. The ideal, of course, would be for creation and expression to go hand in hand, in perfect harmony. Unfortunately many people enjoy expressing themselves, ‘letting it all hang out’, and forgetting that they must not be the only ones to get pleasure from it: spectators must receive pleasure, too.
The difference between the act of expression and the act of creation is this: in the act of expression one plays for oneself alone rather than for any spectators. I always look for an actor who ‘shines’, who develops a space around himself in which the spectators are also present. Many absorb this space into themselves, excluding spectators, and the experience becomes too private.
The critical comments one makes about the work do not attempt to distinguish the good from the bad, but rather to separate what is accurate and true from what is too long or too brief, what is interesting from what is not. This might appear pretentious but the only thing that interests us is what is accurate and true: an artistic angle, an emotion, even a color combination. All these aesthetic elements can be found in any durable work of art, independent of its historical dimension. They can be sensed by anyone and an audience always knows perfectly well when something is accurate and true. They may not know why, but it is up to us to know, because we are, after all, we are specialists. ” Jacques Lecoq.
During her more than 30-year career Ivana Chubbuck worked with a variety of actors such as Brad Pitt, Jared Leto, Charlize Theron, Halle Berry, James Franco, Jim Carrey and Jake Gyllenhaal, to name just a few. The technology developed by its technology is used throughout the world with award-winning results – Oscars, Emmys, Tonys and other international awards.
In the Chubbuck Technique is a 12-step system based on psychology and behavioral sciences. It leads the actor to the heart of the role and thus their original needs: love, affirmation and power.
“The idea is to replicate a role with your own personal feelings and life experiences. The result is a character who is alive, authentic and with body and soul at the moment. The Chubbuck Technique is a way to understand your role and so embody that is the role for you and you the role. “Ivana Chubbuck
Note* For the Chubbuck day the student needs to prepare a scene (this will be given to the student once registered), and the student must read (at the very least!) a breakdown of her technique, so they come to the class with some understanding of the work.
“Strasberg meant that what is called “Method Acting” is nothing new, but rather as old as Western Civilization itself. For centuries, cultures used different words and phrases to describe “good” acting: Romantic Acting, Emotional Acting, Divine Inspiration, The Muses, Feeling the Role. These terms merely described an organic process of creativity that talented actors used, often times unconsciously, to accomplish what audiences experienced as a moving performance. This was the (re)experiencing of life by the actor within the fiction of the story as if it were true and happening now. Aristotle said that the secret to moving the passions in others is to be moved oneself, and that moving oneself is made possible by bringing to the fore “visions” of experiences from life that are no longer present. Aristotle was stating the core principle of The Lee Strasberg Method™ — the creative play of the affective memory in the actor’s imagination as the foundation for (re)experiencing on stage.
This idea was first called the ‘System’ by Konstantin Stanislavsky, and later, as further developed by Lee Strasberg (at the Group Theatre, the Actors Studio and then at the Institute). The Lee Strasberg Method™ trains actors to use their imagination, senses and emotions to conceive of characters with unique and original behavior, creating performances grounded in the human truth of the moment.”
We look forward to working with you in a class soon
Our location for Classes and Courses in 2017
Arie Biemondstraat 111
1054 PD Amsterdam
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