The Lee Strasberg Theatre & Film Institute

Vocal Production II

lstfiadmin — Thu, 19 Apr 2012 22:48:37 +0000

The class endeavors to impart a vocal technique that is open, free, flexible, lively and possessing an extensive and colorful range. Vocal production is a dynamic vocal technique specifically designed to compliment the work of the Method actor. The goal of the course is to develop an open and embodied instrument and provide every artist with an effective “neutral,” allowing for optimal exploration of human emotion and physical expression. This class continues the work begun in Vocal Production including exploration and exercises in relaxation, alignment, respiration, phonation, support, registration, resonation, and articulation. In addition, this year of “application” places an enhanced attention on clear speech and expressive language use. Further, dramatic material and storytelling are called upon as devices through which to inspire and enhance the sensorial experience of form, structure, rhythm, tempo, and dynamic variety.

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Tap Dance

lstfiadmin — Thu, 19 Apr 2012 22:12:19 +0000

For students with no prior dance training, this class is designed as an introduction to the dance form of Tap. The arc of the class begins with Beginning Tap through Intermediate Tap Dance.

Utilizing the concept of ‘Tap Emersion’, the student will learn the repetitive language of tap through trial and practice, until overall comprehension is achieved. In the first half of the semester, students will be introduced to single and double sounds, as well as some triple and quadruple sounds. Shim shams, riffs, drawbacks, pullbacks, cramp rolls, 3 and 4-count paddle and rolls, as well as some step time steps will be introduced and practiced. In the second half of the class, students will learn and practice more advanced paddle and roll combinations through a process called “see, hear and do”. Other advanced techniques will also be introduced and practiced.

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Stretch

lstfiadmin — Thu, 19 Apr 2012 21:58:25 +0000

Stretch is designed to deeply explore and meditate on the potential of the body through slow and thorough stretching in order to gain greater flexibility and to release tensions stored in the body musculature.

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Strasberg Legacy On Tape

lstfiadmin — Thu, 19 Apr 2012 21:20:23 +0000

This class provides a rare opportunity to get as close as possible to studying with the master himself, by viewing video tapes of Lee explaining and demonstrating the major elements of the Method.

The tapes, which were filmed at the Lee Strasberg Theatre Institute from the early 1970’s until Lee’s death in 1982, focus on such topics as: Relaxation, Sense Memory, the Emotional Memory exercise, the Animal exercise, Private Moment, Song & Dance, Lee’s vocal exercises, the given circumstances, and the process of working on a scene. A discussion will follow each week’s viewing, and students will have an opportunity to get their questions answered about the work.

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Strasberg and Scene Analysis

lstfiadmin — Thu, 19 Apr 2012 20:05:41 +0000

Several years before Stanislavsky understood the logical evolution of his discoveries and insights into how an actor and a director needs to analyze a play, what is today called active analysis, Lee Strasberg intuited Stanislavsky’s ultimate practice from his classes with Richard Boleslavsky and Maria Ouspenskaya at the American Laboratory Theatre in the mid-1920′s and effectively demonstrated in his legendary productions with the Group Theatre. The organic form of a truly acting and thus theatre-based rehearsal process is built on the use of rehearsed improvisations, called etudes by Stanislavsky. These etudes “actively” analyze and explore the dramatic action of the play – i.e., the given circumstances, events, facts, objectives, psycho-physiological-action, counteraction and adaptations or adjustments, the text-based means through which an actor builds a the playwright’s character. Before one can “actively analyze” a play one must know how to break its text into the bits of action that make up the actual play, which is “hidden” or embedded “sub textually” in the text. This is the architecture of acting and directing and the basic material of theatre. This class teaches the student the process of action analysis as the foundation of acting.

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Stanislavsky To Strasberg

lstfiadmin — Thu, 19 Apr 2012 18:21:35 +0000

Stanislavsky to Strasberg provides a clear understanding of the development of Stanislavsky’s work in both the Russian and American theatres over the last 1000 years. Instruction includes, but is not limited to lectures, class participation, Q & A, audio/visual presentations and acting exercises.

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Stage Combat II

lstfiadmin — Fri, 06 Apr 2012 22:18:27 +0000

Students will work upon the foundational skills acquired in Stage Combat I. The focus of this class will be to learn safe and dramatically effective techniques of unarmed staged violence at an advanced level.

There will be a fight test at the end of the term, and potentially may be passed by an outside judge from the Society of American Fight Directors. More information about the S.A.F.D. can be had on the web at www.safd.org.

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Singing II

lstfiadmin — Fri, 06 Apr 2012 22:10:35 +0000

The purpose of this course is twofold: to continue the process of voice technique begun in Singing 1, including relaxation, alignment, respiration, phonation, support, registration, resonation, and articulation; and to build the individual’s songbook containing musical theatre repertoire. Additionally, a daily warm-up routine will be developed and habituated. The songbooks, developed by the students in conjunction with the teacher, will continue to grow and augment over the coming semesters so that it covers a vast range of audition needs. The aim is to create a body of work that will prepare the student for the demands of the musical theatre industry.

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Scene Study

lstfiadmin — Fri, 06 Apr 2012 22:05:42 +0000

This course entails exploring the various means of developing character: especially clarifying the use of sensory, relaxation and the personalizing of all work. Students are encouraged to develop their own Method for both their work, as well as the on-going commitment of the Artist’s path as a lifestyle.

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Playwriting For the Actor

lstfiadmin — Fri, 06 Apr 2012 21:58:56 +0000

Don’t wait for a role to come to you, write a role for yourself. In this course, actors will complete the first draft of a full length play or two drafts of an original, one-act play. Students will learn how to craft character, dialogue, and plot structure by using the lens of Strasberg’s teachings. With a focus on character development derived from personal experience and sensorial writing, the actor will open up a new form of expression and character exploration.

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