Matthew Mastromatteo

This open-level acting course is made up of exercises, monologues, and scene work intended to teach actors how to use acting techniques, like Stanislavsky and Hagen, in the craft of acting. Students will learn how to craft a set of given circumstances and to make playable choices and objectives based on the analysis of their chosen performance text in order to create a truthful performance. The goal of the class is to give each student his/her own understanding of the importance of developing technique, rigor, and artistic practice in the craft of acting and how to unlock the layers and complexities of any character that they play. In addition to these tools, students will learn boundary practice and intimacy choreography skills intended to make them capable of exercising these tools in their own practice.

As performers and storytellers, it is our work to transmit information or data to our audiences. In this course, we will explore how the body, as our instrument, can be a powerful tool used to amplify our ability to communicate point of view and meaning in art marking. Supplementing the Suzuki Method of Actors Training, we will also draw on trainings such as (but not limited to) Viewpoints, Michael Chekov Technique, and Miller Voice Method. Through these vocal and physical techniques, we will develop an increased sense of bodily awareness and practice and how to use this awareness to inform expressive choice making. We will learn how to honor and navigate our habitual psychological and physical mannerisms as we approach character and/or generative work. We will do all this while we unpack a collection of common aesthetics to help us approach any work environment in a “front-footed” manner.

As performers and storytellers, it is our work to transmit information or data to our audiences. In this course, we will explore how the body, as our instrument, can be a powerful tool used to amplify our ability to communicate point of view and meaning in art marking. Supplementing the Suzuki Method of Actors Training, we will also draw upon trainings such as (but not limited to) Viewpoints, Michael Chekov Technique, and Miller Voice Method. Through these vocal and physical techniques, we will develop an increased sense of bodily awareness and practice how we can use this awareness to inform expressive choice making. We will learn how to honor and navigate our habitual psychological and physical mannerisms, as we approach character and/or generative work. We will do all this while we unpack a collection of common aesthetics to help us approach any work environment in a “front-footed” manner.