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Methodology

In order to understand the methodology of what we teach in our acting programs, we must first revisit the beginnings of modern acting. Modern realistic acting was essentially created by Constantin Stanislavski at the Moscow Art Theatre.

Constantin Stanislavski

The most obvious change that Stanislavski caused in modern acting was to change acting from essentially presentational to something experiential. In other words you didn't just "show" your feelings, you "felt" them.  Stanislavski trained actors for theatre, but he had no idea how the impact of his discoveries would affect actors in film. For example, when Stanislavski talks about the difficulties of giving an inspired performance night after night, the same difficulties apply to giving an inspired performance take after take, when shooting a film.

Stanislavski's student Richard Boleslavsky, brought this new style of acting to America, teaching Lee Strasberg, Harold Clurman, Stella Adler, among others. These "disciples" took what Stanislavski taught and interpreted it for American actors.

         
                             Lee Strasberg                                               Harold Clurman

At the Academy of Film we take the teachings of Stanislavski and his “disciples” and re-interpret them for the application of acting on-camera. Academy founder Scott Rogers has been hired to coach actors, by studios, production companies, directors, and celebrities for literally thousands of hours, on the sets of movies and national TV shows. As an acting coach, Scott has to work with actors from very different backgrounds. Some were trained by Meisner some by Strasberg. Some are followers of Stella Adler and some are Uta Hagen devotees. What he’s found is that, although the approaches vary greatly, all are capable of giving honest, inspired, performances.

        
                   Sanford Meisner

Our Methodology:

Because different actors respond to different methods of teaching, we tailor an actors training to the individual actor. By focusing on what works for the individual, we’ve been able to greatly accelerate the pace and progress of actor training. 

               Stella Adler

We focus on two key areas of preparation:

Research...

Research is learning everything you can about the character. Their background, influences, religion, economic, physical pathology, yes their dialogue, and much, much more. Once you’ve learned all about your character you learn about everyone your character speaks to and speaks about – to the same extent. The same goes for all the places your character has been and refers to. Think about it, when you talk to your friends you automatically know all this information – and more! You need the same safety net of knowledge in order give an honest performance and feel confident enough to cut loose and "swing with abandon".

       Uta Hagen

...and Imagination.

Research however, is just the first part. When you have all the research in place, then and only then are you ready to breathe life into your character. Research is the brainwork but imagination is where the real creativity comes in. Through intense imagination work like emotional preparation exercises, improvisations, and other exercises we've designed to trigger real emotions in the actor, you learn to control the triggers that allow you to feel honest, real emotions, on demand - take after take.  The research work is time consuming but not terribly difficult. Imagination work, on the other hand, can happen lightning fast but is often the hardest, most draining (although also the most rewarding) work an actor ever does.

Students will develop a deeper understanding of how to get from a page in a script to a real and captivating character that draws the audience in. Our students learn through scene study, audition drills, emotional preparation, and specially designed improvisations and exercises to create real and honest emotions. Students are here to experiment--to grow.

We create an atmosphere of trust, in the classroom--a place where trial and error is not only acceptable but we believe that if you aren't making mistakes you simply aren't trying hard enough. You see, when you're performing for a camera or an audience, it's got to work--you make choices that are going to allow you, as an actor, to deliver the goods when the director says "Action". However, if you do nothing but perform, then you are stuck with what you know works.  You can't take a chance and push your limits, because you're not sure you'll be able to deliver the goods when the camera’s roll.

This is where class comes in. Class gives you something you never get in performance - the opportunity to go out on a tightrope saying, "I don't know if this is going to work, but I'd like to try it". Perhaps it's a disaster, but no worries. There's no audience in the classroom (we never allow “audits”)--just a sympathetic teacher and fellow students who are falling off tightropes as often as you are. You get the opportunity to expand your artistry from a limited actor to a creative artist with a full set of tools with which to express your form in a wide range of ways.

This is how we create a consummate professional.