THE WORK

The human form, from the actors perspective, aims to combine the physical outer life with the more secret inner life and have both work in unison to deliver what we call - character.  With our internal energy, we as actors and performers, can reach out to audiences in very peculiar ways; ways which ultimately go far beyond what can be seen and heard - more along the lines of what we EXPERIENCE. The human beings' inner life is divided into the “thought,” “feeling” and “will” centers, with these living realms all having a residence within different parts of the human beings body; in the actors case - his/her instrument.  The actor, as an artist, has much to gain from learning about and understanding most other art forms in order to deepen their insight into the creative process.  As myriad of methodologies is similar to, for example, modern sports psychology and athletes finding their respective performance zones, so too the craft of acting aims to target images and uses charged texts (the plays/films/tv we act in) to put into practice the entire realm of theatre arts.  Without needing the analytical realm of our intellect, the actor will consider very specific psycho-physical exercises and begin to awaken in themselves their true creative intuition.   

 

The training begins with very simple exercises that illustrate methods and examine them by initially "taking in" our instrument in a new and different way;  exploring relationship with ourselves, the ensemble and the space.  Exercise work is typically executed either in pairs and/or in groups so as to permit the ensemble an opportunity to begin the process of working moment to moment through specific atmosphere improvisations while taking the big risks in an extremely safe space.  The group is encouraged to support  and speak out with their peers related to recognizing where the work is inspiring as well as providing constructive feedback all tailored towards the goal of advancing individual growth.   

To GET IN and WORK HARD at CONSERVATORY equates to our actors knowing that they must invest in themselves artistically to and always be prepared to approach your profession.   

You will be trained to become a more inventive, honest, expressive, skilled, clever, fearless actor.

You will cultivate artistic taste.

You will develop both your imagination, emotional capacity and your physical instrument and learn practical, creative techniques to be incorporated into your work.

You will interact with an ensemble of determined actors who find support, experiencing the sense of artistic community.

You will become a more compelling actor.

Michael Chekhov compared his technique to a room with many doors - enter through any door and you find yourself in the space of inspired acting.

"All true actors bear within themselves a deeply rooted desire for transformation."

                                    -Michael Chekhov

 

THE DOORS AND PRINCIPLES

THE ACTOR’S BODY AND PSYCHOLOGY

The body of an actor can be either his best friend or his worst enemy.

- Marcus Aurelius

THE PSYCHOLOGICAL GESTURE

The soul desires to dwell with the body because without the members of that body it can neither act nor feel.

- Leonardo Da Vinci

IMPROVISATION AND ENSEMBLE

Only artists united by true sympathy in an Improvising Ensemble can know the joy of unselfish, common creation.

- Michael Chekhov

 

IMAGINATION AND CHARACTERIZATION

Transformation is, consciously or unconsciously, what the actor’s nature longs for.

- Michael Chekhov

OUTER ATMOSPHERES & INDIVIDUAL FEELINGS

The actor will receive the necessary inspiration for his acting from the Atmosphere directly.

- Michael Chekhov

THE CREATIVE PROCESS IN REHEARSAL AND PERFORMANCE

The thing isolated becomes incomprehensible.

- Rudolf Steiner

OUTER ATMOSPHERES, IMAGINATION & INNER FEELINGS 

QUALITIES OF MOVEMENT & CHARACTERIZATION

ACTING = REACTING

THE PSYCHOLOGICAL GESTURE & DESIRE

CONSERVATORY

The Great Room A.R.T.

Alliance of Resident Theaters

138 S. Oxford St.

Brooklyn, NY 11217

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