Action III
Instructor:  Tom Fulton
  1. The Group Theatre (Stanislavski USA - Harold Clurman) 

  2. The People of American Theatre Training

    •  Stella Adler

    • Lee Strasberg

    • Sanford Meisner 

  3. The Power of Preparation



  1. The ANIMAL Exercise

    • Demonstration

    • Choosing your Animal

    • Embodying your Animal

    • Feed back


"Talent without work is nothing  but raw, unfinished material"

Constantin Stanislavski

Director Moscow Art Theatre



    • Demonstration

    • Choosing your location

    • Sensory Exploration on your feet.

    • Feed back


“When left high and dry by a director, the actor must fill the directorial void themselves.”

Lee Srasberg

Director, Actor's Studio



    • Slings & Arrows is a Canadian TV series set at the fictional New Burbage Festival, a Shakespearean festival similar to the real-world Stratford Festival. Brilliant writing, characters that jump off the screen.  Gives you a whole new perspective on the workings of a professional Shakespeare Company.

  2. SCENE WORK - Schedule will be released on Monday.

    • Links will be live on Monday, April 13.

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New Artistic Director of the Burbage

Festival encounters his old dead mentor,  now a ghost.

Geoffrey Tennant: There's not enough fear here. Actors

should be frightened for their lives. That's when they do

their best work.



Stanislavski and the focus of  Scene Work

  • RELAXATION:  Learning to relax the muscles and eliminate physical tension while performing.

  • CONCENTRATION:   Learning to think like an actor and to respond to one’s own imagination.

  • WORK WITH THE SENSES:   Discovering the sensory base of the work: learning to memorize and recall sensations, often called “” and /or “”; learning to work from a small sensation and expand it, a technique Stanislavski called “spheres of attention”.   using memories and their sensory elements to bring forth an emotional response.

  • SENSE OF TRUTH:   Learning to tell the difference between the organic and the artificial. Stanislavski believed that there were natural laws of acting, which were to be obeyed.

  • GIVEN CIRCUMSTANCES Developing the ability to use the previous four skills to create the world of the play (the circumstances given in the text) through true and organic means.

  • ACTION:  The physical solution to the character's predicament or conflict.  Of all the theories in the Stanislavski system, this is the most powerful and most capable catalyst for emotion and spiritual connection.  Action must be specific and fully realized throughout the whole body.

  • COMMUNION:  Developing the ability to interact with other performers spontaneously, and with an audience, without violating the world of the play.

  • UNITS AND OBJECTIVES:   Learning to divide the role into sensible units that can be worked on individually, and developing the ability to define each unit of the role by an active goal desired by the character rather than as an entirely literary idea.

  • LOGIC AND BELIEVEABLITY:   Discovering how to be certain that the sum of the combined objectives is consistent and coherent and that they are in line with the play as a whole.

  • TEXT WORK:  Developing the ability to uncover the social, political, and artistic meaning of the text, and seeing that these ideas are contained within the performance.

  • THE CREATIVE STATE OF MIND:  The culmination of all your work and acting spontaneously by using all aspects of your technique.  This can be likened to learning a song.  At first, you must focus on all the details of the notes, the rests, the tempo, the rhythm.  After you have learned the music, you can forget about it and simply sing without thought – only instinct.   All your work should add up to a feeling of privacy in public where you are free to react spontaneously.

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