THE 3-PART STRUCTURE: WORK,
note: please refer to the film clips to the right for examples of workshop structure
PART 1: SCENES ARE WORKED (clip 1)
Similar to Week 1 of the New York ongoing class. Actors come in off-book and rehearsed; scenes are worked face-to-face. This session is on Saturday afternoon; afterward, actors rehearse on their own and prepare for...
PART 2: SCENES ARE SHOT (clips 2 and 3)
A rigorous shooting session. Actors come in with staging and blocking prepared; modifications are made as necessary and the scene is shot, one close-up take per actor.This session takes place on Sunday morning.
PART 3: SCENES ARE SHOT (afternoon, day 2; clip 4)
Sunday afternoon. Footage is viewed, and some in-class editing is done
to show actors the challenges faced in assembling the footage into a scene. Focus is on how the dramatic arc of the scene is created in the editing room as much as it is on-set.
THE TRAINING WILL FOCUS ON:
THE TRAINING WILL NOT FOCUS ON:
- rigorous, text-based scene work chosen from the best of contemporary
American film (and occasionally theatre).
- the difference between what's crucial to establish
in rehearsal for film and what cannot be established
in a film rehearsal.
- the importance of absolute personal honesty in
- how to work freely within the pressures and restrictions
of the shooting environment.
A FEW TIPS:
- character work; improvisation; dialect; voice; movement.
- The more work put in prior to session 1, the better the actor's
overall experience will be.
- Actors need not be overly intricate when staging their scenes. Simplest is often best.
- Prop and independent activity work, however, should be specific
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