When we work together, you as an actor and me as a coach or a trainer, you first discover the process of assembling the essential elements you will need to progressively build your character, and lately how to use your inner self to be this specific character. My main aim as a coach or a trainer is to push you to the limits of what you think or believe you can do. Every time you will have your scene to act, in front of the other members of the group, I will walk you through sincerity, helping you to interpret and portray your characters without failing them or the audience. Remember the eye of the camera is totally objective, no matter the expected outcome, be it on television or on film.

    My duty as a coach or a trainer is to shade light on what is hidden behind the word “Acting” using Stanislavsky’s method or system. The course is divided into two steps:

    1. theoretical approach which encapsulates the synthesis of the first part of Stanislavski’s work and its development in the USA followed by the final part of his research with María Knebel: (The Method of Analysis by Psycho-Physical Actions),
    2. Application approach of the theory in different sessions of film shooting, with two angles, frame by frame based on the editing plan.

    The workshop

    In the “Actors acting” Workshop, we work on several techniques inherited from Stanislavski’s system, (Actor’s Studio and the Gitis School in Moscow), applied to the work of the actor’s preparation for the stage. The theoretical and practical path proposes to revisit the method of analysis by the physical actions and the works of emotional and sensory memory, applied both to character construction and to working in front of the camera. We will also spend time working on the body, the voice, and the diction using various improvisation techniques. 

    Please note that all actors trainees are supposed to have studied Stanislavski’s work (An Actor Prepares), cause its use in cinema is linked to the need to find as quickly as possible the truth in the actor’s “BE” which leaves in many cases a very short time to the actor, due to the nature of the dynamics of a shooting on stage. This is why I strongly insist on the thorough study of Stanislavski’s book, in order to be able to follow and understand the course and to be able to use its technics quickly in any shooting circumstance.





    Typically we reply within an hour

    I will be back soon

    Hello 👋 Thanks for your interest in us. Before we begin, may I know your name, please?
    Call Us How can I help you?