Method Acting May Homework AM

The AM or PM Monday classes are the Homework. This is where you learn to build on Lee Strasberg’s technique and bring more techniques into the studio session. You will also learn to work in your own space, as you will need to do self-taping or prep before going on set. You also expand your application into scene work. You only need to attend one Tech HOMEWORK class per week, but you are welcome to come to more each week; there is no extra charge. Classes run AM or PM, so there is flexibility to work around other demands.

The Studio gives the expansive space to build both technique and scene work. Homework is the primary place to build your foundation; the Studio is where you can play & create more with what is technically evolving. Acting is both personal and collective, so working from both spaces enables you to meet each step and each challenge.

METHOD MAY UNIT
May 10th -June 1st

METHOD STUDIO Week 1
Friday, May 10th 7-10 pm
Saturday, March 11th 10-6 pm

METHOD HOMEWORK Week 2
Monday  11th 10 – 12 noon or 7.30 – 9.30 pm (Technique)
METHOD STUDIO Week 2
Friday 17th  7-10 pm
Saturday 17th 10-6 pm

METHOD HOMEWORK Week 3
Monday 20th 10 – 12 noon or 7.30 – 9.30 pm (Technique)
METHOD STUDIO Week 3
Friday  22nd, 7-10 pm
Saturday 23rd 10-6 pm Method

METHOD HOMEWORK Week 4
Monday  27th 10 – 12 noon or 7.30 – 9.30 pm (Technique)
METHOD STUDIO Week 4
Friday 31st  7-10 pm
Saturday  1st June, 10-6 pm

Theatre Deli
107 Leadenhall Street
London
EC3A 4AF

All the classes over the 4 weeks are one unit.
The classes are in groups.
STUDIO
HOMEWORK

The 4-week fee is £310.

METHOD UNITS RUN DURING THE MONTHS
JAN    MARCH   MAY  SEP   NOV

Homework

The dead space represents the initial sense of no natural external stimulation except the text itself. Alternatively, you could consider dead space and inert space. Requiring interaction from you to bring it to life. You have yet to create any relationship in such a primary space to feed off, just like when you receive a self-tape for an audition or prepare to work on a role you have booked. It is how you turn nothing into something. Although you only see obstacles at first, you find the means to unlock the opportunity.

About your instrument, the work is always primary. Each time you engage in relaxation and sense memory. Each time you work yourself experientially, you build and develop your instrument.

As important as the instrument is the relationship between text and character. Like the musician, you should pick up different music pieces to practice your craft and expand your vocabulary and understanding. Not to stick to the tunes that you know and like most. In the demands of the industry, this level of sketching sustains you when you have to make quick, creative choices.

Therefore, homework is your studio. Without this foundation, you cannot truly grow in this industry—the technical demands in the 21st century present considerable challenges. Consequently, the challenge and discipline of homework are to build the muscles to create with such obstacles rather than just overcome them.

Studio Craft

The face-to-face work now has true meaning in the context of the homework. The primary homework preparation means that the studio space becomes a studio to explore and expand the primary work you have established in homework. It becomes a more organic opportunity to examine the potential of your instrument and your creative process where you can pull apart and engage both the character and the text—building a richer ability and a greater understanding of both yourself and the opportunities of acting.

This also expands into the important parts of an actor’s craft: VOICE & MOVEMENT. To fill the character, the role, and the text with your creative thoughts, impulses and emotions, you need the creative muscles that bring real shape and dynamics to your acting.

Studio Intensive

The intensity in the final three days replicates the challenges and opportunities of the camera or the stage. Now, you can bring both your primary and process work into the opportunity of two scene slots. Or to immerse and observe fellow class members reaching out to fulfil such a creative challenge. Everybody will work with sense memory and text in the morning, evolving the ability to work from your thoughts, impulses and emotions. To create from a heightened state of self while obtaining the lucidity of creative thinking.

The Choice

As Stanislavski said, talent is in the choice. Nothing is automatic, particularly in acting. The specific steps of the three-week unit are designed for you to engage and unlock your true creative potential properly. To develop the sensibility and creative muscles to take on the challenges and opportunities of the professional acting industry. 

In straightforward terms, the three pillars in each unit are to see how you can raise your game.

Sam