The acting teacher has a variety of responsibilities that have to be addressed if the students are to receive professional training.
First and foremost, the teacher must have a consummate knowledge of their craft, and the ability to impart that knowledge clearly and concisely. This is more difficult than one might imagine. In music for example the musician has an instrument on which to practice their, rudiments, scales, charts, etc. The instrument is tangible. This is not so for the actor, for the actor IS the instrument. The actor works with actions, and specific behavior as a means of authenticating emotional truth. They must learn to inhabit the world of the character, and to bring the writer's words to life by executing their actions fully. They must understand the wants and needs of the character on a personal level and learn to bring all of themselves/their life's experience to the work. Generating real emotion using their creative imagination and "working off" the other person to create urgency as suggested by the script is imperative. Guidance and corrective feedback have to be provided in a professional manner or the students will not be able to move forward in their training.
The teacher's role transcends knowledge of their craft as they have to learn to balance corrective criticism with support and encouragement. This balance between praise and criticism is essential. A disparity between one or the other can erode the confidence of the student.
Good teachers love their students and embrace their accomplishments. They understand that their main goal is to provide the student with a strong foundation that will contribute to their growth. They do not try to take credit for the student's talent. Rather they nurture and feed that talent so that the student can reach their full potential. They do not attempt to guarantee or assure success as any such pronouncements would be misleading and above all, dishonest.
Patience is an essential element for teaching. The process cannot be rushed. Not all students adapt equally. Some grasp the technique sooner than others. There are many examples of actors that began slowly and worked hard to overcome their limitations. Hard work can make up for a multitude of "warts". People need time to grow and learn. Telling them to "stick with their day job" is not the answer. The great Fred Astaire met with an agent who wrote of Astaire's audition thusly, "Can't sing. Can't act. Dances a little." Astaire went on to become one of, if not the greatest dancer in the history of show business.
Sometimes students need more than feedback on their technique. A good teacher will do what they can to provide guidance and emotional support when needed. At the same time the teacher must never pry into the personal affairs of their students. If the student is in need and chooses to share a personal problem the teacher must LISTEN without every crossing the line.
Creating a positive environment is a necessity. Students need a place that is conducive to learning. They must feel free to make mistakes without fear of recriminations or humiliation. If they feel safe learning will take place.
Once a bond of trust has been established the student looks to the teacher for support on all levels. This trust must never be taken for granted or abused. False praise is a destructive force and in the long run will damage the students confidence and ability to succeed, but a steady diet of negativity is equally damaging. If the teacher takes a genuine interest in their students, the students will know. You can't fake sincerity. Teachers must look inside, not outside, when they confront difficulties in any aspect of their craft. Blaming your students for your own limitations just won't cut it.
I offer ongoing classes in Meisner Technique, scene study/cold reading/audition technique, monologues, private coaching, private Skype or Face Time coaching. Prospective students may take advantage of my offer of 1 free audit to the class of their choice.
First and foremost, the teacher must have a consummate knowledge of their craft, and the ability to impart that knowledge clearly and concisely. This is more difficult than one might imagine. In music for example the musician has an instrument on which to practice their, rudiments, scales, charts, etc. The instrument is tangible. This is not so for the actor, for the actor IS the instrument. The actor works with actions, and specific behavior as a means of authenticating emotional truth. They must learn to inhabit the world of the character, and to bring the writer's words to life by executing their actions fully. They must understand the wants and needs of the character on a personal level and learn to bring all of themselves/their life's experience to the work. Generating real emotion using their creative imagination and "working off" the other person to create urgency as suggested by the script is imperative. Guidance and corrective feedback have to be provided in a professional manner or the students will not be able to move forward in their training.
The teacher's role transcends knowledge of their craft as they have to learn to balance corrective criticism with support and encouragement. This balance between praise and criticism is essential. A disparity between one or the other can erode the confidence of the student.
Good teachers love their students and embrace their accomplishments. They understand that their main goal is to provide the student with a strong foundation that will contribute to their growth. They do not try to take credit for the student's talent. Rather they nurture and feed that talent so that the student can reach their full potential. They do not attempt to guarantee or assure success as any such pronouncements would be misleading and above all, dishonest.
Patience is an essential element for teaching. The process cannot be rushed. Not all students adapt equally. Some grasp the technique sooner than others. There are many examples of actors that began slowly and worked hard to overcome their limitations. Hard work can make up for a multitude of "warts". People need time to grow and learn. Telling them to "stick with their day job" is not the answer. The great Fred Astaire met with an agent who wrote of Astaire's audition thusly, "Can't sing. Can't act. Dances a little." Astaire went on to become one of, if not the greatest dancer in the history of show business.
Sometimes students need more than feedback on their technique. A good teacher will do what they can to provide guidance and emotional support when needed. At the same time the teacher must never pry into the personal affairs of their students. If the student is in need and chooses to share a personal problem the teacher must LISTEN without every crossing the line.
Creating a positive environment is a necessity. Students need a place that is conducive to learning. They must feel free to make mistakes without fear of recriminations or humiliation. If they feel safe learning will take place.
Once a bond of trust has been established the student looks to the teacher for support on all levels. This trust must never be taken for granted or abused. False praise is a destructive force and in the long run will damage the students confidence and ability to succeed, but a steady diet of negativity is equally damaging. If the teacher takes a genuine interest in their students, the students will know. You can't fake sincerity. Teachers must look inside, not outside, when they confront difficulties in any aspect of their craft. Blaming your students for your own limitations just won't cut it.
I offer ongoing classes in Meisner Technique, scene study/cold reading/audition technique, monologues, private coaching, private Skype or Face Time coaching. Prospective students may take advantage of my offer of 1 free audit to the class of their choice.
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