M/T/W  from  9:00a-12:00p

Adler Technique I is the course of study upon which the training of the modern actor is based. Actors are the "doers" in the collaborative effort that results in a film or play being seen and heard. Therefore, all understanding is made "doable" in the learning of the skills for the actor. Listed below are eight highlights of the craft that actors are taught to practice:

1. Understanding of self through the art form of acting
2. Actor's relationship to words and feelings
3. Physical and mental relaxation within the circumstances
4. Creative imagination as a major acting tool
5. Application of the three levels of justification
6. Non-verbal expression through character behavior
7. Relationship with partners
8. Mental actions and their four specific types

M/T/W  from  5:30p-8:30p

Adler Technique I is the course of study upon which the training of the modern actor is based. Actors are the "doers" in the collaborative effort that results in a film or play being seen and heard. Therefore, all understanding is made "doable" in the learning of the skills for the actor. Listed below are eight highlights of the craft that actors are taught to practice:

1. Understanding of self through the art form of acting
2. Actor's relationship to words and feelings
3. Physical and mental relaxation within the circumstances
4. Creative imagination as a major acting tool
5. Application of the three levels of justification
6. Non-verbal expression through character behavior
7. Relationship with partners
8. Mental actions and their four specific types

M/T/W  from  2:30p-5:30p

The purpose of Technique is to create an independent actor responsible for his or her own creative and professional life. Stella Adler Actors will explore the fundamentals and building blocks of their craft. This involves using their imagination to create interesting characters that serve the writer's intention. Exercises and scenes will be used to clarify an actor's process leading to an independent artist.

T/TH  from  6:00p-10:30p

The purpose of Technique is to create an independent actor responsible for his or her own creative and professional life. Stella Adler Actors will explore the fundamentals and building blocks of their craft. This involves using their imagination to create interesting characters that serve the writer's intention. Exercises and scenes will be used to clarify an actor's process leading to an independent artist.

T/TH  from  6:00p-9:00p

Technique III explores in depth the essentials of the Stella Adler Technique. Building a character, living in the given circumstances of a play, and playing actions and objectives are among the exercises that are covered. Translating the technique into a usable process through monologues and scenes is the central focus of the class. Pre-requisite for the class is completion of Adler Technique I and II.

M/W  from  7:00p-10:00p

Technique III explores in depth the essentials of the Stella Adler Technique. Building a character, living in the given circumstances of a play, and playing actions and objectives are among the exercises that are covered. Translating the technique into a usable process through monologues and scenes is the central focus of the class. Pre-requisite for the class is completion of Adler Technique I and II.

T/TH  from  10:00a-12:15p

An acclaimed method for improving the actor's sense of physical ease and flexibility. This technique provides a means to change excessive tension and unconscious mannerisms into an integrated, poised use of the whole body and voice. Students will receive hands-on guidance in order to identify their own habitual movement patterns, experience openness, and utilize the technique in daily activities and performance skills.

T/TH  from  12:45p-3:00p

An acclaimed method for improving the actor's sense of physical ease and flexibility. This technique provides a means to change excessive tension and unconscious mannerisms into an integrated, poised use of the whole body and voice. Students will receive hands-on guidance in order to identify their own habitual movement patterns, experience openness, and utilize the technique in daily activities and performance skills.

F  from  10:00a-2:00p

The purpose of this class is to prepare actors for the audition environment by giving a realistic idea of what is required in an audition. This is an on-camera class. Students will work a minimum of twice per class and see their work in video.

F  from  2:30p-6:30p

The purpose of this class is to prepare actors for the audition environment by giving a realistic idea of what is required in an audition. This is an on-camera class. Students will work a minimum of twice per class and see their work in video.

F  from  1:30p-5:30p

In this class, we deeply investigate character and the process of deepening an actor's character work, through a series of exercises and work on actual scripts. The work in this class will be applicable to film and theater and will leave the actor with certain techniques that bring the actor closer to his or her character and give him or her a deeper sense of belief in themselves in the circumstance.

T/TH  from  9:30a-12:30p

An advanced class that offers an in-depth look at Chekhov's major plays (Seagull, Uncle Vanya, Three Sisters, The Cherry Orchard) with an emphasis on script analysis, determining objectives, and playing actions. The mystery of Chekhov's genius is revealed through a layer by layer exploration of character relationships and the given circumstances, and by the peeling away of extraneous, self-oriented acting impulses. The actor's work becomes pure, simple, and direct.

M/W  from  2:10p-5:10p

An intense exploration and refinement of the work and techniques established in Technique I and II.

T/TH  from  5:45p-8:00p

Through the use of theatre games, improvisational exercises, and scene work, the actor learns to leap past boundaries and move forward into strong choices in role playing, characterization, and interrelating. It is a class to explore freedom of imagination and experience acting.

M/W  from  3:45p-6:00p

An on-your-feet class. Behind the mask you are free to create exciting and surprising, larger-than-life personalities. Because the mask hides the self, students are able to delve deep into untapped creative potential. Focusing on spontaneous expression, play and transformation, this class will engage students in a series of performance exercises and games that explore the concerts of organic development of character and physical theater.

T/TH  from  12:30p-2:45p

MI introduces the concept of body as the physical expression of thought. Through mental and physical exercises and the study of pantomime, actors expand their sense of awareness, control, freedom and imagination. By mid term, the instructor begins to link the students' physical work directly to the Adler acting technique, in preparation for MII. Each class begins with a beginning-level warm-up.

T/TH  from  3:30p-5:45p

MI introduces the concept of body as the physical expression of thought. Through mental and physical exercises and the study of pantomime, actors expand their sense of awareness, control, freedom and imagination. By mid term, the instructor begins to link the students' physical work directly to the Adler acting technique, in preparation for MII. Each class begins with a beginning-level warm-up.

T/TH  from  6:00p-8:15p

MII address the deeper questions regarding the physical work of the modern actor. MII applies these techniques to the study of playing action. It covers: Expanding your physical identity Acting vs. Indicating: how to be "bigger" and still be truthful Recognizing and accepting true feelings in the moment and allowing your body to express them How to shift your focus from physically expressing emotion to physically expressing action The natural order of human reactions and responses that ensures a truthful physical performance The three levels of physical boldness Adding text to a performance without losing size Introduction to Behavior, in preparation for MIII The class includes analyses of performances by Naomi Watts, Gary Oldman and Jack Lemon; scene work; improvisation; discussion; and an intermediate-level warm-up.

T/TH  from  9:30a-11:45a

MIII applies movement techniques to the study and manifestation of character behavior. It covers: Action as general-mental; behavior as specific-physical How to build and develop the physical identity of your character How a character's perceptions govern her behavior Developing relationships with physical objects Handling props in character Moving through space in character Allowing the "through-line" to play in your body The only two things in the physical universe you can manipulate to create a character Creating interesting characters through physical contrast Posture and gesture Behavior as the physical manifestation of how your character gets what she wants Making only positive choices for your character Physical comedy The class includes scene work; discussion; analyses of performances by Holly Hunter, Harvey Keitel, Javier Bardem, Geoffrey Rush and others; and an advanced-level warm-up.

W/F  from  11:00a-1:15p

A program designed to help the actor find and explore the use of their voice in a musical theater context. "Give me a great actor that can sing a little over a great singer that can't act!" - Stephen Sondheim. Learning vocal techniques to strengthen your voice and build confidence. Breathing, phrasing, lyric interpretation and delivery. Choosing songs. Understanding your instrument.

M/W from 7-10p; T/TH  from  4:00p-7:00:p

This class is designed to be the culmination of the student's work while introducing the principles of rehearsal and performance. Plays are directed by guest directors. In order to become eligible to audition for play production, students must work on a play production or children's show in the technical areas of lights, sound, stage managing & front-of-house.

M/T/W/TH  from  11:00a-2:00p

This class is designed to be the culmination of the student's work while introducing the principles of rehearsal and performance. Plays are directed by guest directors. In order to become eligible to audition for play production, students must work on a play production or children's show in the technical areas of lights, sound, stage managing & front-of-house.

T/TH/S 2-5p; F  from  3:00p-6:00p

This class is designed to be the culmination of the student's work while introducing the principles of rehearsal and performance. Plays are directed by guest directors. In order to become eligible to audition for play production, students must work on a play production or children's show in the technical areas of lights, sound, stage managing & front-of-house.

M/W  from  1:30p-4:00p

The skills you need for before, between, and during rehearsal. How do you apply everything you've learned so far and "show up" with it? This is the answer. Don't "show up" waiting to be told what to do -"save yourself".

T/TH  from  2:30p-6:00p

Having completed Technique I & II and Script Breakdown, the actor will present scenes where they will receive analysis and criticism that will provide insight into the playwright and his meaning. The actor will acquire a new heightened understanding, which will lead to an interpretation of the playwright in light of the actor's own talent and creativity.

T/TH  from  6:30p-10:30p

Having completed Technique I & II and Script Breakdown, the actor will present scenes where they will receive analysis and criticism that will provide insight into the playwright and his meaning. The actor will acquire a new heightened understanding, which will lead to an interpretation of the playwright in light of the actor's own talent and creativity.

M/W  from  7:00p-10:00p

A progression and advancement of the work established in Scene Study I, delving more deeply into the discussion of text and character.

M/W  from  9:45a-11:45a

This class teaches the process of breaking scenes into playable beats and actions, character analysis, specific playwriting styles and periods, by presenting various scenes from classic to contemporary texts.

T/TH  from  3:00p-5:15p

This class teaches the process of breaking scenes into playable beats and actions, character analysis, specific playwriting styles and periods, by presenting various scenes from classic to contemporary texts.

M/W  from  3:00p-5:15p

This class teaches the process of breaking scenes into playable beats and actions, character analysis, specific playwriting styles and periods, by presenting various scenes from classic to contemporary texts.

M/W  from  9:30a-12:30p

An introduction and step by step approach to the English language's greatest playwright. Through monologue work, students become knowledgeable and practiced with the fundamentals of Iambic Pentameter (blank verse). Students learn to understand the principles and structures of Rhetoric and how to identify Operative Words and how to personalize imagery. Language springs from a deep experience, and the expression of complex thoughts becomes easy and familiar. By course's end, students have two monologues which will serve them in auditioning for professional companies.

M/W  from  7:00p-10:00p

A continuation of the work from Shakespeare I, students produce scenes from Shakespeare's plays. There is further emphasis on script analysis and deep character development based on the embedded clues provided by Shakespeare.

M/W  from  10:00a-12:15p

In this course, students are introduced to the sounds inherent in General American Speech and learn to identify the sounds they are making in comparison with this standard. Sounds are taught using the International Phonetic Alphabet, a notation system which allows students to visualize sounds and apply the correct sounds to their text work. Students leave with an awareness of their own speech patterns and tools with which to make changes. Required text: "Speak With Distinction," by Edith Skinner.

M/W  from  1:00p-3:15p

Building on the awareness gained in Speech One, students learn to use words and sounds more effectively to create a deeper emotional/personal connection to the text. Students also continue to work on speech habits as they relate to General American Speech and elements of Good Classical Speech are introduced. Students leave with the ability to speak classical and modern texts with physical and emotional clarity. Required text: "Speak With Distinction," by Edith Skinner. Pre-requisite: Speech One

Privates  from  -

M/W  from  12:15p-2:30p

Modern Russian Theater A history of modern Russian theater and its founders Konstantin Stanislavsky, Evgeny Vakhtangov and Michael Chekhov and their connection to the Stella Adler Technique and Development; plus, the little-known aspects of the latest Stanislavsky System (Method), and introduction to Imaginative Realism Concept. Taught by three instructors: Dmitri Boudrine, June Barfield, Jade Gordon

M/W  from  12:30p-2:45p

This class trains the actor to free the natural speaking voice by learning and exploring the classic progression of the Linklater voice work. The actor will learn a series of physical and vocal exercises that will free the voice from tensions and negative habits while developing, strengthening and expanding vocal range, power, resonance and clarity. The actor will explore a piece of modern text in this class.

T/TH  from  11:15p-2:00p

This class continues the Linklater voice progression with a strong focus on development of the speaking range, articulation, and emotional-vocal connections for the actor. They develop the tools of pitch, rate and volume to structure the work, and learn to allow their voice to respond to their imagination and interpretation of the material. The actor will explore a piece of classical text in this class.

M/W  from  3:30p-6:30p

This is an advanced voice class for actors who have finished Voice I and II. The actor will continue to reinforce the voice progression they have learned, and will have more opportunity to practically apply their voice technique in monologue and scene work every week. The actor will explore both modern and classical texts in this class.