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Dates: Thursday 10 Oct – 12 DEc Duration: 10 weeksTimes: 7.00pm to 9.30pmTutor: Richard Sarell
THIS WORKSHOP IS NOW FULLY AVAILABLE ONLINE WITH LIVE FACE-TO-FACE TEACHINGemail Richard@rehearsalroom.com or ring 0407 226 620 for more details BUILD YOUR SKILLS FROM ANYWHERE IN THE WORLD
This is a workshop for experienced actors. You will learn the broad array of sophisticated techniques that have been developed at The Rehearsal Room. Making powerful decisions that engage an audience, balancing the character against the action, managing performance intensity and character complexity will all become effectively within your control.
David Paterson Chopper, The Curious Case of Benjamin Button, Saving Mr. Banks, Frost Nixon
I have observed leading teacher directors in the US and UK and Richard shares with them that facility to guide actors through the guff to the heart of the scene.
Put yourself in charge of a new terminology that is totally focused on practical outcomes. The understanding you will achieve of how your acting techniques empower and activate your choices will liberate you.
These techniques will enable you to stand tall in any professional discussion about character or story and the best ways to deliver them.
Actors frequently make predictable choices without even knowing it. The Rehearsal Room techniques will teach you how to avoid the obvious cliché. They will also teach you how to make the obvious choice richly complex and potently real.
There is much taught about analyzing the text but the majority of that instruction is based on a ‘literary model’. Refine your understanding of story and how the writer creates the script. Put yourself in charge of the interpretation of that script with common sense and powerful techniques that are practical for the actor. This is the powerhouse of the actor’s decision-making process.
Physical action and the purpose of the conversation are inextricably linked. In life they are united. It must be the same for the actor.
Actors frequently make decisions that they ‘feel’ are right but can’t explain with clarity. They can’t explain them because often they don’t actually make sense. Understanding how the mind makes decisions is very useful for the actor.
The major element that excites Richard about The Rehearsal Room acting process is that for thirty years it has continued to evolve. It has never lost any of its original goals but more and more practical ways of fulfilling those goals have continually emerged.
Richard makes sure that there are simple rules that assess the quality and practicality of new understandings. Those rules include…
· is the new concept simple and active
· does the new concept reflect life
· can the whole concept be clearly defined in a very short sentence
· can you do it
· does it produce an instant result.
It’s the possibility of a new discovery that gets Richard out of bed each morning with enthusiasm for the day ahead. The discoveries might come from finding a new perspective on how our minds make decisions in a psychology book. Or it might be some buried ingredient in one of the standard acting texts. But discoveries often come from an actor in a class. Because actors are empowered by The Rehearsal Room process to think about the practicalities of their choices sometimes they have sudden realizations about a new concept. And new techniques often emerge when Richard is trying to find another way to explain an existing concept.
Because the foundations of this process are so strong the new concepts always conform to the original overall goals. But Richard finds it exciting, even inspiring, to see what emerges next. You will find it exciting too. And you will also be inspired to continue the quest for further understanding.
MELBOURNE
Learn skills you will use throughout your career. Learn to be real, to be versatile, to be a great listener and to be skilled in auditions. The Advanced Workshop will make you the director’s best friend.
Over his twenty-five year directing career Richard found that many actors he auditioned didn’t actually listen. They acted listening to pre-planned choices they had intelligently worked out as a result of their preparation. That pathway plainly didn’t work – it was fake. Even actors who had emerged from the major teaching institutions often couldn’t listen for real.
