Acting Workshop with Sandra Seacat

“The Beginning – Approaching the Creative Process – How to make Authentic Choices”

with Sandra Seacat in BERLIN

Sandra Seacat’s main concern when working with an actor is that the actor learn to fully express his or her own uniqueness and truth as a human being, and to break through the patterns and blockages that prevent the artist from living truthfully that part of themself that is the character fully on stage or in front of the camera. Ms. Seacat develops exercises that both reveal the actor to himself and the audience and also give the actor the courage to express who he is and to trust in himself and his talent.

Ms. Seacat believes that the class environment is invaluable for the growth and development of the actor. In Ms. Seacat’s workshops, a bonding between the students provides the support and love which give them the courage and permission to explore and reveal their innermost feelings and emotions.

An important part of Ms. Seacat’s work is guiding the artist into communication with their Inner Creative Source through Dreams, Active Imagination, Rituals and other methods. Active Imagination provides communication with parts of the unconscious we are usually cut off from. When you go into your Active Imagination you experience things you never consciously knew, and express thoughts that you never thought or felt before. The actor is guided by the imagery of the unconscious and sets up experiments which take him into the experience of the truth of his own life and that of the character he is portraying.

Through the Dream Assignment Sandra teaches how to allow the artist’s dream to serve the creative process and enable them to come closer to the truthful essence of that part of them that is the character. And she also uses exercises that are instrumental in awakening and inspiring the artist to fully and truthfully express their true inner creative nature. The Ritual exercise is a physical experience that connects the artist with the inner experience they are working on to bring forth those deep interior parts of themselves that are the character in the play.

Venue: Berlin
Dates: March 30th to April 17th, 2020
Schedule: 10:00 am to 5:30 pm | Lunch Break: 1 hour | 15 Days | Limited to 22 participants
Further Information & Application please write to kontakt@schott-acting-studio.de
Level: Professional actors, Acting students, Graduates from Drama Schools, Directors
Please add to your application a link to your Homepage/Agency or attach a full CV
Working with Dreams Acting
Acting Workshop with Sandra Seacat / Design: © Sarah Bühler-Schott Acting Studio

Schauspieltraining Berlin

Schauspieltraining:

  1. Schauspiel Intensiv: Beginn 12. bis 21. Mai 2020 | 8 Tage
  2. Schauspielseminar mit Matthias Schott: Wochenende 7./8. März 2020

Improvisationen, Szenische Übungen, Monolog- & Szenenarbeit

Wir schaffen eine handwerkliche Grundlage für deine weitere Arbeit als Schauspieler. Stanislawski und verschiedene englische/amerikanische Weiterentwicklungen seiner Methoden bieten dir einen Rahmen, um die wichtigsten Aspekte der Schauspielkunst zu erlernen. Improvisationen, Übungen und erste szenische Arbeiten, die deine Vorstellungskraft und Verwandlungsfähigkeit trainieren, um in jeder Sekunde glaubhaft vor der Kamera oder auf der Bühne agieren zu können.

Infos, Termine und Anmeldung 2 Tage Schauspielseminar

Für Infos & Anmeldung bitte schreiben: kontakt@schott-acting-studio.de

Schott Acting Studio, Schauspieltraining Berlin

Animal Work – Tierarbeit für die Rollenentwicklung

mit Matthias Schott

Tiere bieten eine unerschöpfliche Inspirationsquelle für Schauspieler in ihrem Ziel ein spezifisches Verhalten für eine Rolle zu entdecken. Die Arbeit mit Tieren ist ein wunderbares Werkzeug in unserem Bestreben eine Rolle zu verkörpern, wenn diese sich von unserem alltäglichen Rhythmus, unserer Art sich zu bewegen und unserem Temprament unterscheidet und diese Eigenschaften besitzt, die uns auf den ersten Blick fremd und unzugänglich erscheinen.


Animal work is a wonderful tool for creating a physical life different from our own and essential work in our quest to create a character.

Examples Animal Work in Film/Theatre: JERUSALEM (Mark Rylance), TAXI DRIVER (Robert De Niro), THE GRADUATE (Dustin Hofman), PRAVDA, THE SILENCE OF THE LAMBS (Anthony Hopkins), MAGNOLIA (Tom Cruise), THE MASTER (Joaquin Phönix), THE GODFATHER, STREETCAR NAMED DESIRE (Marlon Brando) and all main characters in „IVAN THE TERRIBLE“ by Sergei M. Eisenstein.

We base our work on animal movements and behaviour through detailed observation. We become the animal totally. Once the animal has been established in our bones we understood it’s dynamics we slowly see how our investigations effect our bodies when we start to humanise the movements.

Ort/Venue: Berlin
Termin/Dates: 8./9. Februar/February 8/9th, 2020

Unterrichtssprache/Course language: Deutsch und English

Information: www.schott-acting-studio.de

Schauspiel Berlin | Tierarbeit – Animal Work

Susan Batson Technik Berlin

Seminar zur Susan Batson Technik in Berlin 29. Februar & 1. März 2020 | Termin: Samstag &  Sonntag

Jeweils von 10:00 bis 17:30 Uhr

Das Training ist für Schauspieler mit und ohne Vorkenntnisse der Technik geeignet. Anhand von jeweils wechselnden kurzen Monologen wird nach Susan Batson´s Technik die Empfindung, Verhaltensweise und Logik eines Charakters geübt. Schnell und entschieden einen Text umzusetzen und sich auf das Wesentliche zu konzentrieren ist hier das Ziel. Das Training schult den Schauspieler seine eigenen Sehnsüchten, Ängste, Erinnerungen und Empfindungen umzuwandeln in die logische und gebündelte Energie des Charakters und dessen Kurz-Monologes.

Susan Batson Berlin

  • 1. Teil: Circle Dance – Need, Personalisierung (zu wem spreche ich), Physical Condition
  • 2.Teil: Aufteilung des Textes in spielbare Beats & Actions.

Wir trainieren:

  • Emotionale szenische Anforderungen mit Leichtigkeit zu meistern
  • Vorstellungskraft, Verbindung Gefühl – Verhalten, Sense Memory
  • Den eigenen Entscheidungen vertrauen

*DIE MONOLOGE WERDEN AM ENDE JEDEN TAGES GEFILMT, zusammen angesehen und besprochen (Qualität des Materials nur für den Feedbackzweck, nicht geplant für die Verwendung des eigenen Showreels).

„The Susan Batson Technique workshop was very enlightening. The two day class brings forward new methods of approaching a text that are definitely great to have in your toolbelt! Matthias Schott does a wonderful job teaching what can be a rigorous and complex technique in a clear and simple way. The workshop allows you to expand your repertoire of techniques or to simply enjoy yourself if you are a beginner. The exercises he assigned us really allowed me to free up, the prep made me connect to the work in a profound way and reach a new emotional peak. There was one monologue exercise in particular in which we used sensory memory that left me completely stunned at how effective the technique is and opened up a level of truth within myself I had not before been able to attain. It was a very entertaining and inspiring weekend!“ – Gabrielle (Susan Batson Technique, 2017)

Weitere Informationen und Anmeldung: www.schott-acting-studio.de

Acting Workshop Sandra Seacat

“The Beginning – Approaching the Creative Process – How to make Authentic Choices

15 Days -- March 30th to April 17th, 2020 | Information & Application

Family Stories & The Plays Of Anton Chekhov

with Sandra Seacat

Sandra Seacat’s main concern when working with an actor is that the actor learn to fully express his or her own uniqueness and truth as a human being, and to break through the patterns and blockages that prevent the artist from living truthfully that part of themself that is the character fully on stage or in front of the camera. Ms. Seacat develops exercises that both reveal the actor to himself and the audience and also give the actor the courage to express who he is and to trust in himself and his talent.

Ms. Seacat believes that the class environment is invaluable for the growth and development of the actor. In Ms. Seacat’s workshops, a bonding between the students provides the support and love which give them the courage and permission to explore and reveal their innermost feelings and emotions.

An important part of Ms. Seacat’s work is guiding the artist into communication with their Inner Creative Source through Dreams, Active Imagination, Rituals and other methods. Active Imagination provides communication with parts of the unconscious we are usually cut off from. When you go into your Active Imagination you experience things you never consciously knew, and express thoughts that you never thought or felt before. The actor is guided by the imagery of the unconscious and sets up experiments which take him into the experience of the truth of his own life and that of the character he is portraying.

Through the Dream Assignment Sandra teaches how to allow the artist’s dream to serve the creative process and enable them to come closer to the truthful essence of that part of them that is the character. And she also uses exercises that are instrumental in awakening and inspiring the artist to fully and truthfully express their true inner creative nature. The Ritual exercise is a physical experience that connects the artist with the inner experience they are working on to bring forth those deep interior parts of themselves that are the character in the play.

Acting Workshop Berlin, Venue: Schott Acting Studio
Dates: 15 Days -- March 25th to April 12th, 2019
Schedule: 10:00 am to 5:30 pm | Lunch Break: 1 hour | Limited to 22 participants
Further Information & Application please write to kontakt@schott-acting-studio.de
Level: Professional actors, Graduates from Drama Schools, Directors
Please add to your application a link to your Homepage/Agency or attach a full acting resumé

Working with Dreams Acting
Acting Workshop with Sandra Seacat / Design: © Sarah Bühler-Schott Acting Studio

Acting Workshop Berlin with Sandra Seacat

Actors, Directors, Young Talents

Media: Acting Workshops 2020

Acting Workshops Berlin:

More information and workshop descriptions: www.schott-acting-studio.de

Video 1: „Laura Dern and Sandra Seacat“ -- Sandra Seacat

Video 2: „Character Analysis & Movement Psychology“ -- James Kemp

Video 3: „Camera Acting -- Study with Stella Adler Master Teacher“ -- Ron Burrus

Grundlagenkurs Schauspiel

Grundlagenkurs Schauspiel

Wir schaffen eine handwerkliche Grundlage für deine weitere Arbeit als Schauspieler. Stanislawski und verschiedene englische/amerikanische Weiterentwicklungen seiner Methoden von Uta Hagen, Stella Adler, Lee Strasberg bieten dir einen Rahmen, um die wichtigsten Aspekte der Schauspielkunst zu erlernen. Improvisationen, Übungen und erste szenische Arbeiten, die deine Vorstellungskraft und Verwandlungsfähigkeit trainieren, um in jeder Sekunde glaubhaft vor der Kamera oder auf der Bühne agieren zu können.

Für wen ist der Grundlagenkurs geeignet:

-Anfänger (Mindestalter 16 Jahre)
-Amateurschauspieler mit Vorkenntnissen/Quereinsteiger
-Interessenten aus Bereich Theaterpädagogik
-Werdende Schauspieler und Filmschauspieler mit Interesse an Grundlagenarbeit
-Regisseure und Autoren, die sich solide Grundkenntnisse aneignen und ihre eigenen Erfahrungen machen wollen, um ein Verständnis für die Arbeit mit Schauspielern zu entwickeln
– Als vorbereitendes Training für Aufnahmeprüfungen

Ort: Berlin, Schott Acting Studio
Zeiten: Nächste Termin 7./8. März 2020
Samstag & Sonntag jeweils von 10:00 – 18:00 Uhr
Die Teilnehmerzahl ist begrenzt auf: 12 Teilnehmer
Für Infos & Anmeldung bitte schreiben an Rebecca Veil: info@schott-acting-studio.de

Feedbacks vergangene Kurse und Testimonials Schauspieler:

„Sein Blick sowohl in inszenatorischer, wie auch gestalterischer Hinsicht, ist sehr genau, von hohem inhaltlichen Anspruch und einer erstaunlichen Tiefe.“ – Pamela Knaack (Schauspielerin/u.a. Hamburger Schauspielhaus; Hamburger Kammerspiele, Polizeiruf: Kleine Frau, Ich & Kaminski)

„Danke Matthias, es hat viel Spaß gemacht!“

„Ich mache jetzt weiter mit Schauspiel. Spiele in mehreren Theaterproduktionen. Ich habe nette Kollegen und es macht sehr viel Spaß!!! Danke für deine Unterstützung!“

„Auch, wenn ich keine konkreten Erwartungen hatte, war das, was du mit uns gemacht hast genau das, was ich mir gewünscht hatte! Du hast uns mit Feingefühl und Empathie geführt.“

„Matthias Schott ist ein hervorragender Beobachter. Das Spiel des Schauspielers schafft er klar und genau zu spiegeln.“ – Eray Egilmez (Schauspieler/u.a. Berliner Ensemble; Die LottoKönige, 5 Jahre Leben)

„Mich hat der Workshop noch die ganze Woche über beschäftigt. Dies lag zum einen daran, dass ich die Übungen und Szenen als sehr intensiv empfunden habe, zum anderen daran, dass ich jetzt eigentlich ziemlich sicher bin, dass ich versuchen werde, Anschluss an eine Theatergruppe zu finden. Vielen Dank für den tollen Workshop“

“The Schott Acting Studio offers very good quality workshops, with teachers coming from different countries and with varied acting techniques. I have participated in a few of these workshops and it has helped me a lot in my understanding of acting and gave me the opportunity to learn many techniques, to practice with motivated partners and to receive tips from great teachers. I highly recommend this Studio to any actors and actresses, whether they are professionals or amateurs and would add to that, that it is a great chance to have the possibility to act in English, something that is difficult to find elsewhere in Berlin.” – Nagisa Morimoto

Acting Intensive

with Matthias Schott

We create a basis for your further work as an actor. Stanislawski and various english and american developments of his methods of Uta Hagen, Stella Adler, Lee Strasberg offer you a framework to learn the most important aspects of the art of acting. Improvisations, exercises and scene work that will stimulate your imagination and ability to transform, in order to be able to act convincingly in front of the camera or on the stage. + Improvisation and Exercises from British Drama Schools LAMDA, RADA, Guildhall and Drama Centre.

This will be a more in-depth version of the foundation course with additional focus on different methods (Stella Adler and Lee Strasberg) and more extensive scene and monologue work.

The course is suitable for:

  • Beginners (minimum age 16 years)
  • Young talents and people with pre-experience, who like to refresh or deepen their skills
  • Directors and writers
  • As preparatory training for drama school auditions
  • Newcomers


Venue: Berlin
Dates: MAY Wednesday, 12th to Friday, 21th; 2020
Times: 10 am – 5 pm | 8 Days | 52 hours
Normal Fee: 625 Euro VAT incl.
Instant Booking Fee: 545 Euro VAT incl.

Limited to 14 participants
For information & application please send us an Email: info@schott-acting-studio.de | Homepage German | English
After your email to us, we make an appointment for a preliminary conversation (Skype or phone). In a preliminary talk, the content and framework conditions of the course are discussed and coordinated with your goals.

„Matthias Schott is a gifted and spirited artist, and an effective curator / organizer of events, serving actors and directors all over the world. He has fused his talent for creating workshops, intensives and „happenings“ of all kinds, with his own experience as an instructor, and his cultivated, keen judgement and good taste. His endless curiosity and love of his art form, his city of Berlin and his fellow actors, seem to fuel his ability to selflessly give a great deal, year in and year out. – I wholeheartedly recommend working through his studio.“ – Seamus McNally – Director/Acting Coach, New York

„The foundation acting course with Matthias is fantastic. It was engaging and exciting. Every exercise opened something new up and allowed us to step beyond ourselves and our habits and into a more honest place from which we could perform.” – Facebook Recommendation

Matthias Schott does a wonderful job teaching what can be a rigorous and complex technique in a clear and simple way. The workshop allows you to expand your repertoire of techniques or to simply enjoy yourself if you are a beginner. The exercises he assigned us really allowed me to free up, the prep made me connect to the work in a profound way and reach a new emotional peak. There was one monologue exercise in particular in which we used sensory memory that left me completely stunned at how effective the technique is and opened up a level of truth within myself I had not before been able to attain. It was a very entertaining and inspiring weekend!” – Gabrielle/Susan Batson Technique

“I took a 3 week intensive course and it exceeded my expectations! Matthias is a very humble and talented teacher who pushes you to go outside of your comfort zone. I highly recommend Schott Acting Studio for anyone who’s curious and wants to have a great time. This is very suitable for beginners or intermediates or for anyone who wants to have some fun!” – Facebook Reviews/Recommendations

Acting Workshop with Sheila Gray

“Sheila Gray is one of the best acting teachers and coaches working today. I always know when I send someone to her that not only will they have a great time, they will come out a better actor.”

Ellen Chenowith ; Casting Director/ No Country for Old Man, Doubt, Inside Llewyn Davis

“Sheila was terrifically helpful with our young actor on Michael Clayton. It’s delicate work. She made sure to understand exactly what we needed, kept me well-informed, and delivered an actor with the confidence to stay loose and take direction. She did a great job for us.”

– Tony Gilroy; Director/Writer ‘Bourne Identity’, ‘Michael Clayton’

“Sheila is a wonderful acting coach. She worked with all the actors on “A Bronx Tale. ” Sheila is able to prepare and rehearse the actors while keeping the scenes fresh and spontaneous. She was great to have on set. I am always happy to recommend her.”

– Robert De Niro


This workshop will be a survey class of tools an actor can implement while rehearsing and performing with an emphasis on film technique. Through improvisations the actors will practice being in the moment, working off of each other and bringing their own depth and truth to the characters and stories they are portraying. The class should feel like a rehearsal process rather than a performance so the actors are free to explore and discover without pressure.

Since working in film is an intimate process with the camera picking up subtleties we will focus on how to develop privacy in a public setting and how to create a rich internal life and inner dialogue that the camera will then pick up. This will enable the actors to embody the characters and the stories they tell in a realistic and unique way.


Acting Workshop Berlin

Dates: July 27th to 31th, 2020 | 5 Days, 11:00 am – 5:00/5:30 pm
Venue: In Berlin, Schott Acting Studio
Instant Booking Fee: 715 Euro inkl. MwSt. | Possible in exceptional cases to participate for 2 – 4 Days
Observers (Actors, directors, writers, producers): 225 Euro | Observer Tickets for 2 to 4 days possible
Grands: Bildungsprämie & GVL | (Levels: Experienced Actors & Young Talents)
For further information and application, please send us an Email: kontakt@schott-acting-studio.de


Most of the improvisations will be short-format as the average film scene is no longer than 2-3 minutes. We will work on preparation, concentration and the physicality for the scenes in order to bring the intensity and depth which make film scenes so dynamic and exciting. I will often interject during an exercise or scene in order to guide it and accus-tom the actor to taking direction in the moment.

„Students are welcome to bring in monologues, scenes or stories from their lives that they wish to work on. People often prepare for movies or plays they are about to work on during my workshops. If students would like to do this please have them send us the material in advance so we can review and be familiar with it, that way our time can be used in the most productive way.“

Acting Workshop Berlin

Filmschauspiel Berlin Ron Burrus

Film & TV Acting:
Stella Adler Technik & Filmschauspiel mit Ron Burrus

4. bis 8. JANUAR in Berlin 2021

5 Tage | Montag bis Freitag von 10:00 bis 17:00 Uhr

Filmschauspiel:

■ Die Sprache des Filmschauspielens besser verstehen ■ Das universelle Thema des Drehbuches und die einzelnen Perspektiven der Charaktere ■ Sequenzen – Entwicklung – Höhepunkt der Szene ■ Handlung zuerst – Dialog an zweiter Stelle ■ Die emotionale Entwicklung des Charakters ■ Emotionen an der richtigen Stelle – das Verständnis für den gesamten dramaturgischen Verlauf ■ 3 Arten von Reaktionen ■ Verhalten verbunden mit Dialog ■ Das Erschaffen einer spezifischen Vergangenheit, die auf die Gegenwart einwirkt ■ Die Imagination als wesentliches Instrument für die Vorbereitung

In der Arbeit an Filmszenen werden die Schauspieler zunächst für ihre Rolle vorsprechen mit einem neutralen Partner als Reader. Danach werden Partner ausgewählt, um über 5 Tage an einer Szene zu arbeiten. Alle Arbeiten der Schauspieler werden gefilmt, nach dem Betrachten werden Anpassungen vorgenommen und entweder gleich oder am nächsten Tag noch einmal gefilmt. Erhahrene Schauspieler, die bereits ihre eigene Methode der Vorbereitung mitbringen, eignen sich am besten für diesen Workshop.

Stella Adler TechniqueRon Burrus studierte die Ausbildung von Schauspielern über viele Jahre an der Seite von Stella Adler und ist als der größte lebende Vertreter ihrer Arbeit bekannt. Er lehrt in LA und in NYC.

„Ron helped me to look at my life without judgment, to be present. I’m able to articulate what I want to do with the material. I can have a discussion with the director, whether I do a play on the West End in London and rehearse for six weeks, or a CSI in Miami. I always keep an open mind. What I love about his way of working is that it has to do with the universal. Ron also said that a script is skeletal, and it’s our job to add the heart, the soul.“ – Michael Landes („Boston Legal“, „You Are Wanted II“ /Acting Teachers Of America by Ronald Rand)

Schauspieler, die Ron Burrus über Jahre trainiert hat, sind: Bryce Dallas Howard (Black Mirror), Mathew Modine (Stranger Things), Talia Balsam (Mad Men), Chris McDonald (Thelma & Louise), Eve Hewson (Bridges Of Spies), Caitlin FitzGerald (Masters Of Sex, Rectify, UnREAL), Olivia Washington (The Butler, Mr. Robot), Sebastian Eslava (Narcos) und viele mehr.

A session with Ron is like going to church.  I am not a bit religious but I can image that the feelings of calmness and reassurance I am left with after an hour with Ron is similar to sensation of walking about of a service.  This is high praise! But I don’t believe there anyone better at breaking down a script.  He just makes things so much simpler and that is all I ever need.” – Jane Levy („Shamless“ | Los Angeles)

Bewerbung: www.schott-acting-studio.de

Stella Adler Berlin: Camera Acting Intensive, Filmschauspiel Berlin, Stella Adler

Stella Adler Script Analysis

Stella Adler, Script Analysis, Film/TV Acting

Stella Adler

„I no longer know how to read or to study or to think or to memorize without inviting Stella into my consciousness. Stella, you see, taught me how a play was built, how ideas were inserted as if they were bricks and windows and cornices and buttresses; how characters were inserted to allow light or shadow or a better view; how a playwright transmitted thoughts and ideas, and how actors were then empowered, required, to pick up those thoughts and ideas and transmit them to both their fellow players and to an audience. – She taught me everything.“Marlon Brando („Believing in Majesty“ by James Grissom)

„I had the fortune to attending classes with her, but not acting classes but the script interpretation. It was the most important thing in my training…“ – Christoph Waltz (Charlie Rose)

1.THEMES

„Theme of the whole script. Theme: the largest subject of the human condition that the main character or leading characters revolve around.“ – Ron Burrus

„Every play has a central line that encapsulates the meaning, the DNA of what it’s about…The central line of something can be quite obscure or quite not what you’d expect. But once you discover it, then you can work on your part, so that everybody knows what the play is about and serves that central line in their choices.“ – Emily Watson (Backstage/Article: Successful Actors Talk About Their Trainng)

„Kings Speech“ – „Finding your voice“ 

„American Beauty“ – „Rites of passage – Film about imprisonment and escape from imprisonment“ – Sam Mendes and Alan Ball (Huffington Post by Alex Koenig)

„Laurence of Arabia“ –  „An constant attempt to find out who he was in this world“ – TED Talk Andrew Stanton

„Six Feet Under“ – „Six Feet Under refers not only to being buried as a dead body is buried, but to primal emotions and feelings running under the surface.“ – Alan Ball (Six Feet Under)

Stella Adler Technique Workshop

„A movie that I was in, called On the Waterfront; there was a scene in a taxicab, where I turn to my brother, who´s come to turn me over to the gangsters, and I lamentto him that he never looked after me , he never gave me a chance, that I could been a contender, I coulda been somebody, instead of a bum….“You should´ve looked after me, Charly.“. It was very moving. And people often spoke about that, „Oh, my God, what a wonderful scene, Marlon,….“ It wasn´t wonderful at all. The situation was wonderful. Everybody feels like he could have been a contender, he could have been somebody, everybody feels as though he´s partly bum, some part of him. He is not fullfilled and he could have done better, he could have been better. Everybody feels a sense of loss about something. So that was what touched people. It wasn´t the scene itself.“ Marlon Brando (Playing To The Camera, Film Actors Discuss Their Craft published Yale University Press)

2. CHARACTER
    • What is the situation through your characters eyes?
    • Characters interpret things
    • What is your characters POV on….?
    • Who does my character represent? What group of people? Example: „Summer & Smoke“ by Tennesse Williams. (Summer – Sex, Appetite | Smoke – Spirit)
  • What does the character represent? The Truth Sayer/X-RAY man (Revolutionary Road/John Givings)

by Steve Schapiro - Taxi Driver

„With writing, great writing especially, you see how the material affects everything on a grander scale so that this character . . . represents an attitude of the world, or this part of humanity, if you will. Stella gave me that sense when you’re reading these characters they represent more than just themselves but they are themselves in a very real way. That made an impression on me: she taught how acting applies to a bigger vision.“ – Robert De Niro (Interview: „A Life in Art“ by Sheana Ochoa / Photo: Steve Schapiro)

    • What is the 80% character word (describing my character) – integrity, loyality, ambitious, honest,…The dominating colour. Example Silver Linings: Pat & Tiffany share the same, they are „transparent“
    • What are the things he/she does the most?
  • What experiences have shaped my character?

Stella Adler Technique„I’m looking for what’s universal—what the writer is saying to the world. If you work on a period play, it takes place at a different time; it could be a different country, its best you do research. And if you’re interested in playing character, (not just your own character), it’s up to the actor to rise to the material, instead of bringing the material down to your size. Actors can only play a projection of themselves for so long in TV and film, and even ‘personality actors’ have edited their persona so that we see a selected side of them. There are exceptions—those actors who fight for the chance to show a very different side of themselves. It’s matter of finding a ‘key’ into your character’s world. The understanding of the human condition is the actor’s responsibility. When I watched Bertolucci’s “The Last Emperor,” there is a scene when the emperor is at the train station, with his guards nearby. And he couldn’t tie his shoe. He didn’t know how to. This was the genius of Bertolucci and the writer to allow us this understanding of his character. Of course, he was raised that he never had to tie his shoes. He was dressed everyday. That’s a key to showing what the actor has to look for, to get in. Once you do, then you can run.“ – Ron Burrus (Q: From Acting Teachers Of America by Ronald Rand)


3. SCENE WORK

    • How do I feel about the partner at the top of the scene?
    • What is the attitude to my partner at the beginning of the scene?
    • Make it light, where the words are heavy
    • Get the action in front of the words
    • Why is the scene in the movie? Every scene is there for revalation?
    • To what part of my partner am I talking to: Am I talking to their soul, their heart, their mind, their body?
    • Imagination – Build a story that makes you feel responsible
    • Giving things life, makes me care, makes me respond
    • Build the past to influence the present
    • Using the partner specificly; Using your partner general, leads to explanation
    • What „must“ happen in the scene? What is the type/titel of the scene? „Bonding scene“, „Breaking the ice scene“
  • Reveal one by one not all once
4. CHOICES
    • Make choices that sharpen your talent
    • You are hired to find the cause that produces the effect (not just the effect/an emotion)
    • You pay a price for doing things – for yes, for no. Let us see the price you pay.
  • Find universal, bigger than life actions
TEXT/WORDS
„You´re the master of the spoken word, they are the masters of the written word.“
 (Notes from past workshops 2015, 2016, 2017 in Berlin)

Camera Acting Workshop with Ron Burrus (Stella Adler Master Teacher)

Acting Workshop January, 2020

Teaching both in LA and NYC, Ron Burrus spent many years studying the teaching alongside Stella Adler and is known to be the greatest living exponent of her work. Her techniques have been studied by actors such as Robert De Niro, Martin Sheen, Roy Scheider, Vincent D’Onofrio, Mark Ruffalo, Warren Beatty, Salma Hayek, Michael Imperioli, Christoph Waltz, Benicio del Toro, and Marlon Brando.

Workshop January 2020: Camera Acting with Ron Burrus click here
 Camera Acting
„Ron helped me to look at my life without judgment, to be present. I’m able to articulate what I want to do with the material. I can have a discussion with the director, whether I do a play on the West End in London and rehearse for six weeks, or a CSI in Miami. I always keep an open mind. What I love about his way of working is that it has to do with the universal. Ron also said that a script is skeletal, and it’s our job to add the heart, the soul.“ – Michael Landes (Acting Teachers Of America by Ronald Rand)