Thurs 16 April – 17 June
7.00pm to 9.30pm
Pay in instalments if you wish
THIS WORKSHOP IS NOW FULLY AVAILABLE WITH LIVE ONLINE TEACHING
email Richard@rehearsalroom.com or ring 0407 226 620 for more details
BUILD YOUR SKILLS WHILE KEEPING RISK FREE
Learn the professional skills that have you offering NINE different characters for any audition. When a Casting Director wants a different type of character change from one to another in under 10 seconds. Surprise Casting Directors with your flexibility and stand out from the crowd.
"Something clicks in every class. It’s an amazing feeling - knowing that you are going to learn something profound but you are yet to have any idea of what that is until it happens. I return each week excited knowing that I am about to experience this."
Actors with university degree courses (like NIDA) are taught to find the perfect performance for a scene. But in the professional audition room Casting Directors know there isn't one perfect version of a scene. Casting Directors know there are many options for a scene and the professional actor who can see lots of possibilities is an actor who can take direction.
An actor who creates characters that experience real 'moments of surprise' stands out in the audition room and on the set. All the great actors play beautiful moments of surprise. Learn techniques for playing surprises that are ONLY TAUGHT HERE. Moments of surprise are the key to being real in performance.
Directors want to hire actors who can engage an audience with the comedy or the drama. If you can totally engage an audience with your performance, the professionals who want to hire you will instantly recognize your skills.
This is a no bullshit approach to traditional theories. It cuts through the complexities of other acting processes and explains them in a simple common sense language. You will be empowered by your new understanding of Stanislavski process. This is an acting process that makes sense.
Instead of questioning if you actually understand the story of a scene. Learn how to break down story effortlessly every time.
Instead of walking out of an audition feeling flat and confused. Learn how to make every audition count. Acquire skills that enable you to measure your success.
IF YOU FEEL THIS COURSE IS TOO BASIC FOR YOU explore the Intermediate Workshop HERE
Richard first discovered the core values of this technique when he was directing drama at the ABC in Melbourne in 1984. In an actor/director workshop run by the marvelous teacher Murray Hutchinson a simple, clear and common sense approach to Constantine Stanislavski’s theories was explained. Richard was captivated by the wonderful practicality of this approach and immediately started exploring it. He also began using it as the foundation of his directing techniques.
After watching Richard direct an actor on the ABC series “Embassy”, experienced British actor Brian Marshall commented, “That was pure Stanislavski!!” Other actors began to notice the difference and soon some began asking Richard to teach them the techniques he was using. Those requests generated what has now become The Rehearsal Room acting school in Melbourne. Over thirty-two years those common sense concepts have continued to develop and evolve.
This is a practical, professional approach focused on delivering the performance outcomes that directors and casting directors are looking for. Unlike any other acting process before it the main focus of this approach is on engaging and entertaining an audience. Actors who can do that are a sought after commodity. Richard loves teaching it. You will love learning it.
Learn skills you will use throughout your career. Learn to be real, to be versatile, to be a great listener and to be skilled in auditions. This workshop lays all the foundations for a professional acting career.
Over his twenty-five year directing career Richard found that many actors he auditioned didn’t actually listen. They acted listening to pre-planned choices they had intelligently worked out as a result of their preparation. That pathway plainly didn’t work – it was fake. Even actors who had emerged from the major teaching institutions often couldn’t listen for real.