Acting Workshop with Sheila Gray – A few places left for observers!

“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: 10. bis 14. December, 2019 | 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

6. bis 10. JANUAR in Berlin 2020

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

1 freier Platz! | * Weitere Plätze für Regisseure und Autoren als Observer!

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

Schauspieltraining Berlin

Schauspieltraining:

  1. Schauspiel Intensiv: Beginn 13. bis 22. Mai 2020 | 8 Tage
  2. Schauspielseminar mit Matthias Schott: Wochenende 25./26. Januar 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 3-Wochen-Grundlagenkurs
Infos, Termine und Anmeldung 2 Tage Schauspielseminar

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

Schott Acting Studio, Schauspieltraining Berlin

Casting-Training

In this workshop participants will learn the key elements of a successful on-camera audition.
Workshop with Devin Shacket (NYC)

CASTING-TRAINING: 29. Februar & 1. März 2020

2 Tage | Während der Berlinale 2020!

We will systematically break down the audition into two parts: the script and the world on screen. Beginning with sides from well written film and television shows, we will develop a process for working with text. This portion of the course will include ways of reading sides and making acting choices informed by the text. We will look at punctuation, action lines, stage directions, locations, events in the scene, and thoughts on the page as the basis of the story that need to be brought to life on screen. Once participants are proficient with the text, we will explore the world on camera.

„Her passion for the work is extraordinary. Her talent for the work is unique. Her commitment to the students is awesome.“ – Olympia Dukakis, Oscar Winning Actress & Master Teacher

„Devin is brilliant. She has a keen eye for text and content and has the ability to bring out the best performance in an actor. Her start in casting has provided her with an extra layer of understanding for what the director/producer might be looking for and she can guide the actor in a way that is both sensitive and respectful to what the actor is already bringing to the table. She has a lot to offer and I’m happy to see her succeed.“ – Julie Schubert, Emmy Award Winning Casting Director (Jessica Jones, Mindhunter, House Of Cards – Netflix)

Casting-Training Workshop in Berlin

BEGINNER Group 1: Becoming Actors, Starting Young Talents
Friday & Saturday from 10am to 2pm

ADVANCED Group 2: Professional Actors & Experienced Talents
Friday & Saturday from 4pm to 8pm

Devin Shacket began coaching and taping auditions in 2013, while working in the HOUSE OF CARDS: Season 2 casting department. Professional casting credits include the second season of the award winning show House of Cards, alongside Emmy Award winning casting director, Julie Schubert. Additional casting credits include feature films, (Good Funk, Black Nativity, Three Backyards), and theatre projects, (SF Playhouse). Freelance casting work includes collaborations with casting directors Meredith Tucker, Laray Mayfield, Kevin Kuffa, Rori Bergman, Bess Fifer, Beth Bowling, and Kim Miscia.

Acting In Film with Ron Burrus

Film & TV Acting: Camera Acting Intensive

with STELLA ADLER Master Teacher, RON BURRUS

CAMERA ACTING INTENSIVE :

  • Difference between stage and film acting
  • Proving truthfulness to self
  • Unspoken language of film acting
  • Theme and POV
  • Sequence/Growth/Climax
  • Transitions–Adjustments
  • Actions first–Words second
  • Chronological & Emotional timelines
  • Being present under pressure
  • Playing actions rather than words
  • Three types of reactions

CAMERA ACTING INTENSIVE: Experienced actors as they will be working with writers’ material (selected film scripts). The advanced actor has to already have their own way of working and preparing for auditions. I will give them my approach in the workshop but they should have something to compare it to.

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 (Art Of Acting | Los Angeles)

„He knows the limitations of camera art for the actor and always teaches surprising keys to making it real in each moment….He’s an artist. He never stops learning, teaching new things, seeing the world anew. He is clarity personified.“Robin Levenson (Quelle Backstage)

Mr. Burrus apprenticed under Stella Adler for the teaching of technique and then taught alongside her for 10 years before opening his own Ron Burrus Studio in Los Angeles. Twenty-five years later Mr. Burrus rejoined the staff in New York and merged his studio with the Stella Adler Studios, NYC for the creation of the Art of Acting Studio, Los Angeles.
 Internationally, workshops have been conducted since 1995. The film school in Lausanne, Switzerland first invited Mr. Burrus to conduct workshops for their directors and actors. His teaching schedule in the US is divided between Los Angeles (winter,spring,summer) and New York (fall).
 Spending most of his teaching time in Los Angeles has resulted in Mr. Burrus adjusting the realistic acting technique (Marlon Brando being the foremost student) for film and the articulation of its doable principles for the 21st century. 2017 will mark the beginning of his 44  year of teaching.

Read more & Application: www.schott-acting-studio.de

January 6th to 10th, 2020 in Berlin 

Monday to Friday: 10:00 a.m. to 5 p.m. | Limited to 14 – actors/actresses

„Acting In Film with Ron Burrus“ weiterlesen

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

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

Physical Expressive Characterizations

Physical Characterization for the Actor/Actress

„Whenever I create a character, I always try to think about them from top to toe. How she moves, how her eyes move, her mouth. And it’s the same with Saga, but then she was so different from me, so I had to think hard. I thought a lot about her hips. I tried to make her stand straight. And then I wanted her to be really intense and a bit too much. So she’s constantly going too close to people, going too far forward.“ – Sofia Helin – „The Bridge“ (Quelle: BBC Interview)

Animal Work in „The Graduate“ with Anne Bancroft and Dustin Hoffman

Further Examples Animal Work: „Taxi Driver“ – Robert De Niro
Animal Work in Film/Theatre: Jerusalem (Mark Rylance), Pravda (Anthony Hopkins and in most of his roles), Dustin Hofmann (The Graduate, Death Of A Salesman), Anne Bancroft (The Graduate). Marlon Brando and Karl Malden (Streetcar Named Desire), all main characters (Ivan the Terrible) and many more.

‚Ace Ventura: Pet Detective‘ star Carrey said: „We were having dinner one night and he asked me what method I used for Ace Ventura. I said, ‚What I was trying to do was be a bird, a parakeet or a cockatiel – a fancy, cocky, male bird.‘ And Sir Anthony Hopkins said, ‚Oh my God, that’s what I did with Hannibal Lecter. I was a tarantula and a crocodile.“ – Inside the Actors Studio

The Master“…The key to Freddie is an animal, just pure id. For the scene where he’s arrested and put in jail and all that, I just watched videos of wild animals that get into suburbia. If you’ve seen video of a deer or a bear that finds its way into suburbia…“ – J. Phoenix – The Time

Heather Ledger – „The Joker“

„The place where you stand, how you use your space, is the number-one priority. How you stand in relation to other people in scenes, how you dance with them – that´s what it´s all about“ – Sean Connery (On Yat Malmgren´s – Character Analysis & Movement Psychology. Yat Malmgren teached Sean Connery how to move, how to position his body in space in such a way as to make for maximum dramatic impact in any given scene.)

Tom Hardy – „Bronson“

„Yat took Laban’s notation into acting. We studied movement psychology and its notation. We didn’t use the notation particularly, but the notation is based on principles of putting psychological concepts into space, into action, into the physical world…“ – Colin Firth – (Quelle: Backstage West)

„Physicality in performance is always something that´s ´very important to me. It´s something I would certainly thinking about immediately. How the character moves…is the character weighty or is the character light on his feet and how you can tell an inner life story of the character through physicality. It´s very helpful. Sometimes you can express so much more through your body language and movement then a page of dialogue.“ – Michael Fassbender (Quelle: THE TIME)

Michael Fassbender – „Frank“

Emil Jannings – „Der letze Mann“

See also: The Influence of German Expressionism

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)

Susan Batson Technik Berlin

Seminar zur Susan Batson Technik in Berlin 22. & 23. Februar 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

Film/Tv Acting Intensive

Film/Tv Acting Intensive with Stella Adler Master Teacher, Ron Burrus

January 6th to 10th, 2020 in Berlin | 5 Days

Monday – Friday, 10 am – 5 pm

CAMERA ACTING Material Covered: ■ Actors providing what words cannot do ■ Theme and POV ■ Being Specific ■ Playing actions rather than words ■ Proving truthfulness to self ■ Unspoken language of film acting ■ Sequence-growth-climax ■ Actions first – words second ■ Emotional timelines ■ Attitudes and Partners ■ Three levels of justification ■ Three types of reactions ■ Putting feelings in their rightful place ■ Behavior/activity combined with dialog ■ Creating past to influence present ■ Imagination as a major tool for preparation

CAMERA ACTING: Only experienced actors as they will be working with writers’ material (selected film scripts). The advanced actor has to already have their own way of working and preparing for auditions. I will give them my approach in the workshop but they should have something to compare it to.

  • Script Analysis & Interpretation of the material is done during class
  • Taping of work is used extensively in this course

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 / „Shameless“, „Twin Peaks“

„He knows the limitations of camera art for the actor and always teaches surprising keys to making it real in each moment,“ she says. „He’s an artist. He never stops learning, teaching new things, seeing the world anew. He is clarity personified.“Robin Levenson / Article: Quelle Backstage

“Ron is not just an acting teacher. He understands the human condition and helps you understand it and put it into action in your acting…”Sebastian Eslava / „Narcos – Netflix“

“Craft allows you for the potential to have a long career. Ron Burrus lays the foundation for what that craft will be. That is the truth” – Arjun Gupta / „Nurse Jackie“, „The Magicians“, „How To Get Away With Murder“

Current working actors Ron´s teaching and coaching have aided in building a career: 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) and many more.

Mr. Burrus apprenticed under Stella Adler for the teaching of technique and then taught alongside her for 10 years before opening his own Ron Burrus Studio in Los Angeles. Twenty-five years later Mr. Burrus rejoined the staff in New York and merged his studio with the Stella Adler Studios, NYC for the creation of the Art of Acting Studio, Los Angeles.
 Internationally, workshops have been conducted since 1995. The film school in Lausanne, Switzerland first invited Mr. Burrus to conduct workshops for their directors and actors. This has lead overtime to workshops done in Mexico City, Mexico; Bogata, Colombia; Hamburg, Germany; Cecina, Italy; Tokyo and Osaka, Japan; Mumbai, India, Manila, Philippines and Toulouse, France. His teaching schedule in the US is divided between Los Angeles (winter,spring,summer) and New York (fall).
 Spending most of his teaching time in Los Angeles has resulted in Mr. Burrus adjusting the realistic acting technique (Marlon Brando being the foremost student) for film and the articulation of its doable principles for the 21st century. 2017 will mark the beginning of his 44 year of teaching.

Application: www.schott-acting-studio.de

Stella Adler Berlin: Camera Acting Intensive

Acting for the Camera, Film Technique And Film Acting, Acting In Film, Acting for Film and Television, Acting For Film, Movie Acting, The Art Of Filmacting, Screen Acting Workshop, Camera Acting Classes, Screen Acting Classes, Audition Classes