[NEohioPAL] Acting Workshops?

Tue Jun 2 19:24:07 PDT 2009

 As a teacher, I would also like to respond to the conversation.

In graduate school, the best acting teacher I had was AWFUL when he went on stage. He was stiff and clunky--but as a teacher of acting, he was a god. He had the gift of insight--and could keenly look at the work of any actor, and tell you just the right thing to get to the next level. As was stated, not every great artist is a great teacher. Playwright David Ives gave up teaching because he found it made his own work flat. The process of explaining his process took away the magic. Of course, one can go to New York and study--but that is not possible for everyone.

As far as a teacher "hanging out his/her shingle" and offering classes: there is a long tradition of working artists and arts organizations who offer classes and form schools to both fuel the art and support the arts institution. When Ballet great George Balanchine came to America, before founding the American Ballet, he is quoted to have said, 'But first, a school.' And he started the School of American Ballet a year before the professional company.

It is a wonderful idea to say that arts classes for children should be offered for free or very cheaply. I, for one, believe in the transformative power of artistic and creative expression in human life. However, in these days of dwindling resources for arts and artists, free or cheap arts classes are not always possible. At the very least, a person or institution offering classes might have to pay for the space, utilities, cover promotional materials, be responsible for various fees and materials, and so on. For example, I offer a residential film camp. The majority of the tuition charged goes to cover? room, board, space rental, equipment rental, scholarships for needy students, and to pay a legal wage to the guest artists and camp counselors. It may seem as though we are "getting rich" in the process. This is hardly the case. I am sure you could talk to Fred and others who produce summer programs or acting classes or any artistic workshops for students. Is there a measurable benefit for students attending the program? I would hope so--no matter if they hope to go "into the business" or simply hope to build their confidence for other endeavors. 

No matter the program, one should ask questions and get information about the instruction offered. Just because you say you are a teacher does not mean you are good or successful. I tell all of my students heading to New York to talk to possible teachers and coaches, get a feel for their style, ask lots of questions, and follow their gut about a particular teacher or coach. But one must maintain realistic expectations about what will come from a coaching session or a week of workshops. 

Hopefully, you will learn a lot. However, would you think that after a few hours of instruction you could become a concert violinist on par with Joshua Bell? Of course not. Still, the idea persists that one can achieve "fame and fortune" as an actor after a few sessions with a casting director or "star" teacher. That may be true for a very few with incredible natural talents (and lots of luck). Most of the rest of us must study, study, study with many different teachers before we become masters of our field. And we have no way of knowing when that "spark of recognition" will trip. Sure, it might happen during a specific class--but who is to say when that the groundwork was not laid by an earlier teacher. I'll offer an example.

A few years ago, I taught an audition class. In the class, we covered many different kinds of audition situations--musicals, commercials, cattle calls, and so on. One student I had could not believe I knew anything about the subject, and challenged me at every turn. About a year after he had been in Washington, DC auditioning as a professional actor, he came back to visit. He admitted that all of the things I said about auditions, he found to be true. He apologized--but I told him there was no need to apologize. At the time he was in my class, he wasn't ready to hear what I had to say. So it did not matter if I was a brilliant teacher or not. My message was not going to make an impact on him at that time. However, it did prepare him for his next teacher in DC. His perspective had changed, and he was ready to move to the next level.? 

In closing, I'd suggest the book? Mastery: The Keys to Success and Long-Term Fulfillment?

by George Leonard to anyone trying to grow as an artist or a person. You may find some wisdom in Leonard's observations about the road to mastery. 

Ansley Valentine
Co-Chair, Kennedy Center American College Theatre Festival, Region III

From:

rtiques1 at aol.com

To:

neohiopal at listserve.com

Subject:

[NEohioPAL] acting workshops?

Date:

Mon, 01 Jun 2009 15:52:38 -0400

?? I wasnt going to post, then decided I should.? I dont understand why people are charging people for acting workshops with acting coaches that havent really done any acting.? You could goto NYC and be taught by people currently on TV and doing major?films for cheaper than what some of these people are charging for these workshops.? I think it is great to want to teach, but honestly, why should people pay rediculous amounts of money for these classes when The coaches themselves have no credits.?? Also, there are several schools that offer free courses over the summer,? I dont think it is right at all to charge unless you can promise people they are getting what they pay for.? Not saying that is the case, but if you check the names of people doing the classes,? most of the time, they havent done much of any acting themselves??? I am all for people taking workshops, but not fo
 r people using the workshops to make a buck.? 

Just a concerned Ohio acting Lover.

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