Created and conducted by Peter at Carnegie Mellon U., The Juilliard School, Harvard U., Boston U., Cal Arts, UCLA, Berkshire Theatre Festival, and privately in New York, Boston, and Los Angeles.
A CASTING WORKSHOP: AUDITION FROM YOUR STRENGTHS
Through an objective process, students discover three or four character types derived from their "look" and personal qualities. Then working on targeted material, actors learn to fulfill each character in order to present themselves as a complete, castable, acting package.
Emphasis is on actor
rather than performer improvisation. Organic behavior and emotional truth are valued over cleverness. Teaches physical and vocal risk-taking, impulse work and a personal sense of truth. Numerous improv formats are motivated by both internal and external circumstances.
ACTING WITH THE CAMERA
Exercises, monologues and scenes leading to the internalization of emotion needed for on-camera behavior. Students also learn how to adjust for different frame sizes, get accustomed to camera terms, direct, operate camera, and deal with realistic set conditions.
The classic "outside-in" discipline employing a unique collection of celastic masks in the French tradition. Precise character development from the mirror leads to full-blown characters. Behind the "safety" of the mask, actors learn to work boldly and break through habitual limitations.
Designed to promote lively, truthful, "dangerous,” moment-to-moment work. Emphasis on risk-taking, impulses, awareness, bold choices and follow-through. Eliminates actor tension, stale performance habits, personal cliches and artificial behavior.
PHYSICAL AND VOCAL ADJUSTMENTS
Characters probably do not look or talk exactly like you do. Actors experiment and learn how to take physical and vocal risks while integrating these choices into the emotional life of the character.
Learning what do just before an entrance – how to make strong choices and internalize them right before a character enters. Based on the actor’s choices of intention and obstacle, the right emotional preparation carries the actor through the scene without any need for pushing or falsification.
Emphasis on the connection between sound and meaning in Shakespeare. After a sensitizing process, students "sound" the text, putting on Shakespeare's "vocal mask" in order to discover and connect the palpable emotional life. Linklater based. Exercises, monologues, scenes.