Media: Acting Workshops 2019

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

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 7th to 11th, 2019 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

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

Drehbuch Schreiben

Kurse für junge Autoren
*Alter: 15 bis 19 Jahre

Erzählst oder schreibst Du gerne Geschichten? Liest oder siehst Du gerne Theaterstücke, schaust leidenschaftlich gern TV-Serien oder bist fasziniert von komplexer Erzählkunst und facettenreichen Charakteren? Schreibst Du gerade an deinem eigenen Einakter oder Kurzfilm, oder willst Du einfach mehr über die Besonderheiten des Szenischen Schreibens erfahren?

Das Schott Acting Studio gibt jungen Autoren Raum zum Gestalten. Wir sind dabei, Kurse für junge talentierte Menschen zu schaffen, die Interesse daran haben, für Film, Fernsehen und Theater zu schreiben. Wir bieten eine Plattform, um neue Schreibtalente zu entdecken, zu entwickeln und zu fördern.

Der nächste Einführungskurs in „Drehbuch Schreiben“ findet im April 2019 während der Schulferien statt. (Siehe Beschreibung und Termine unten).

Teilnahmebedingungen:

**Keine Vorkenntnisse im Schreiben für die Teilnahme erforderlich,
lediglich ein großes Interesse am Geschichtenerzählen und der Wunsch zu beobachten und in Worte zu fassen, wie wir leben.

*****Weitere Schreibkurse, die wir anbieten werden A) auf Deutsch mit deutschsprachigen Drehbuchautoren B) auf Englisch mit Drehbuch- und Dramaturgie-Experten des Vereinigten Königreichs Großbritannien und der Vereinigten Staaten von Amerika.

Eine Einführung in das Drehbuch Schreiben mit Andreas Resch

In diesem Intensiv-Seminar verschaffen wir uns zunächst einen Überblick über den aktuellen Stand der fürs Drehbuchschreiben relevanten Literatur – ausgehend von Aristoteles über Lajos Egri bis hin zu Robert McKee, Keith Cunningham und Alexander Mackendrick.

Wir beschäftigen uns mit der klassischen Dreiaktstruktur, mit relevanten Termini wie Auslösendes Ereignis, Planting/Payoff oder Wendepunkt und schärfen unsere Wahrnehmung hinsichtlich dessen, was eine funktionierende Szene ausmacht, anhand von Drehbuchlektüren und dem Anschauen von ausgewählten Szenen. Und wir überlegen, was komplexe und faszinierende Charaktere wie Walter White und Jesse Pinkman (Breaking Bad), Sherlock Holmes (Sherlock), Frank Gallagher (Shameless) oder Mickey Dobbs und Gus Cruikshank (Love) ausmacht, und wie man sie zu Papier bringt.

Gleichzeitig geht es in diesem Seminar immer auch darum, eigene Szenen zu schreiben und zu überarbeiten, eigene Geschichten zu finden und zu lernen, wie man sie von der Idee über einen Pitch, ein Treatment und eine Step-Outline bis hin zum fertigen Drehbuch entwickelt.

Andreas Resch arbeitet als Drehbuchautor vor allem fürs Fernsehen; er schreibt als Kritiker und Essayist über Film und unterrichtet Drehbuch an der Freien Universität Berlin.

Ort: Berlin, Schott Acting Studio
Zeiten: 2,5 Tage | 26. bis 28. April 2019
2,5 Unterrichtstage: Freitag und Samstag 10:00 – 17:00 Uhr | Sonntag: 11:00 bis 16:00 Uhr
Kosten: 125 Euro inkl. 19% MwSt. | Frühbucher nur 95 Euro inkl. 19% MwSt.
Die Teilnehmerzahl ist begrenzt auf : 14 Teilnehmer
Für weitere Infos & Anmeldungen bitte schreiben: kontakt@schott-acting-studio.de

Einführung Drehbuch Schreiben

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

Character Analysis and Movement Psychology

Character Analysis and Movement Psychology

(For Actors, Directors, Scriptwriters, Dramaturgs)

with James Kemp in Berlin

7 Days Introduction & Intermediate

New dates published soon through Newsletter, 2019 in Berlin

You can book 4 Days (Introduction only) or 7 Days (Introduction & Intermediate)

Send us an Email: kontakt@schott-acting-studio.de

 

„By the end of the classes you will be looking at the world through new eyes, being able to ‘read’ the movements of those around you for meaning, and to create physically expressive characterizations which both excite the imagination and serve the writers’ intentions.“

This class is based upon the work of two pioneers of 20th Century performance research: Rudolf Laban and Yat Malmgren. Rudolf Laban, regarded as the architect of European Contemporary Dance, codified a system of analyzing and classifying movement in all its aspects, not only physical, but also in its expressive manifestations and psychological impulses. Yat Malmgren extended these ideas to create a psychological typology which brings together Laban and Stanislavski.  This fusion of internal motivation and expressive technique offers the actor a basis for constructing character.

In these classes you will be introduced to a theory and practice which breaks down all expressive movements into their constituent parts and links them to the deep seated psychological impulses which underpin them.  From these building blocks ‘character’ can be constructed, either from scratch as a creative act, or from a close analysis of an already existing script as an act of accurate and imaginative interpretation.

At the heart of the work is the concept that we think with our bodies. That our bodies are revelatory of our inner workings, our psyche, of our thoughts and feelings. Therefore if we could learn to harness and manifest our inner sensations and in a precise way control and express them through our bodies we would be able to share every inner desire, want, thought or emotion with a watching audience. And in turn that audience would be able to ‘read’ our thoughts, to ‘read’ our character and be thoroughly engaged in our dramatic lives.

James Kemp about the classes (Character Analysis and Movement Psychology):

„I am a strong believer that even a little knowledge of the work can go a long way, and that anyone should be able to take something from the presentation which they could immediately apply to their work on stage or off, in front of the camera or behind, or for that matter as a member of an audience watching actors and drama. This work provides an accurate and complete way of describing human behavior and its dramatic representation, giving a practitioner the tools to transform their bodies and minds at will into the shape, form and thoughts of a new character, either subtly or profoundly.  It provides a way to create nuanced and detailed characterizations, and to access inner sensations ripe for use in dramatic circumstances, and otherwise hard to stimulate.“

A partial list of the actors trained in Yat Malmgren´s technique: Anthony Hopkins, Sean Connery, Cate Blanchett, John Simm, Helen McCrory, Michael Fassbender, Tom Hardy, Gwendoline Christie, Emilie Clarke and many more. Directors: Peter Brook, Laurence Olivier and Tony Richardson and many more.

James Kemp: In 1998 James was invited back to Drama Centre London to work alongside and assist Dr. Yat Malmgren in the teaching of Movement Psychology (inspired by the pioneering work of Rudolf Laban), and upon the retirement of Dr. Malmgren in 2001 he inherited his work and further developed this field of study and practise through workshops for Stage Centre, Israel; Beit Zvi School Of Performing Arts; Beit Lessin Theatre, Tel Aviv. He teaches Acting & Directing at LAMDA and works as a ‘Laban Consultant’ at the Young Vic. His students have included Michael Fassbender, Tom Hardy, Emilia Clarke and Gwendoline Christie amongst many others.

„James Kemp taught me character analysis for three years. He inspires his students to reach a level of acting which is high- detailed and rich. The work that James teaches reminds actors constantly of the importance of the physical when acting- how our psychological state expresses itself in our bodies. Character analysis taught by James encourages actors to use themselves in the roles they play, but this by no means limits the possibility of transformation. There is also a lovely lot of freedom in this acting class as we were allowed to create whichever character our imaginations were pulling us towards.“Student, Drama Centre London

„What I will say is that from my perspective it helps to instill a discipline and rigour in your approach and you start to think about the little things in your performance with much more of a knowing view to what that says about your character, and indeed what the audience will receive from your performance. It gives you the tools to add great depth of character and a vocabulary and awareness of why your character has that depth.“Christopher Ashman – Actor, Drama Centre London

“Der Workshop war sehr bereichernd für mich. Die Technik ist sehr vielschichtig und man kann sich immer wieder davon inspirieren lassen. James als Pädagoge habe ich sehr gemocht. Klarheit, Kraft und Humor. Seine Aufteilung, wie er Theorie und Praxis miteinander verbindet, ist sehr präzise und effektiv.” Rasmus Dahlstedte

 

WORKSHOP, SCHOTT ACTING STUDIO

Character Analysis and Movement Psychology
Infos & Anmeldung:
kontakt@schott-acting-studio.de

More Information about the workshop with James Kemp in Berlin click here>>

Notes from past workshops and interviews with actors/actresses click here>>

Subscribe to our newsletter to receive information about future workshops.

Character Analysis and Movement Psychology

 

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)

Yat Malmgren

Mentor for many stars of the stage and screen.

Radio InterviewSpotlight with Kerstin Berggren at the Drama Centre, London click here

Yat Malmgren started as a dancer and performed in Germany, France, England, USA and South America. In England he worked together with Christopher Fettes and John Blatchley at The Drama Centre from the start in the early sixties.

Many famous actors have been students at the school: Frances de la Tour, Anastasia Hille, Simon Callow, Geraldine James, Helen McCrory, Michael Fassbender, Tom Hardy, to name a few.

Kerstin Berggren interviewed Yat Malmgren at The Drama Centre in London in 2000 for The Swedish Radio.

Yat Malmgren who was born in Sweden in 1916, died 2002 at the age of 86.

(Q: SverigeSRadio/Spotlight with Kerstin Berggren)

Acting Workshop: Yat Malmgren´s famous Character Analysis & Movement Psychology

with James Kemp click here

Acting Master Teachers

International Acting Master Teachers in Berlin:

More information Masterclass and Workshop: 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

Masterclasses for Actors, Acting Workshops, Acting Training, Acting Master Teachers

Movement and Acting

MOVEMENT AND ACTING

MOVEMENT PSYCHOLOGY (Traning Day)

„The qualities of physical and vocal expression in the first confrontation between Alonzo and Jake make the scene a clash between distinct and opposing characters . . . Subsequent scenes maintain and amplify the structural opposition between the STRONG, DIRECT, and SUDDEN qualities in Washington´s performance and the light, indirect qualities that infuse Hawke´s. Throughout the film, Washington´s acting choices suggest that Alonzo will never be satisfied with anything less than all-out victory over every challenger. He is always fighting, against SPACE, TIME, and GRAVITY. In scene after scene, he uses advancing movements, gestures that expand into space around him, and line readings marked by INCREASING SPEED, PRESSURE and DIRECTNESS.“ – REFRAMING SCREEN PERFORMANCES by Cynthia Baron (Movement Psychology for Actors)

Character Analysis & Movement Psychology – The Yat Malmgren Method: www.schott-acting-studio.de

Movement and Acting – Laban/Malmgren

Workshops & Masterclasses Impressions

Acting Workshops Berlin. The Studio offers workshops and masterclasses with internationally renowed acting tutors and coaches from London, New York, Los Angeles and Berlin.