Course Philosophy
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Course Philosophy
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RATIONALE City Drama Studio Pty Ltd - Beginner's Acting Course
has evolved substantially since its formation in 1997. The craft of acting, in this course, is presented so that
there is a balance between the rigorous physical and intellectual requirements
of actor training, and the recreational nature of a three hour per week educational experience. Very few of our students express the desire to pursue a
career as professional actors prior to the start of their training (although
some develop this goal at a later stage). The vast majority seek a basic
introduction to fundamental concepts, and the opportunity to develop
self-confidence in a stimulating and enjoyable environment.
PRINCIPLES The principles on which the curriculum is based have evolved
from a wide range of sources. The primary texts influencing curriculum at City Drama Studio are Robert Cohen’s Acting One (1984), and
Acting Power (1978). They have a strong foundation in Stanislavskian theory, and use very practical
and easy to understand terminology and methods. Another influential text is Keith Johnstone’s
(1981) Impro. Johnstone’s theories on traditional educational practices
and their potential for limiting the creativity and spontaneity of individuals
are important to the success of classes at City Drama Studio. Creating a relaxed
and trusting environment in which individuals are confident in the support of
their fellow students is essential. Other principles on which the course is founded are espoused
in Viola Spolin’s (1963) Improvisation for the Theatre. The following
passage, from the beginning of her book, accurately reflects a fundamental
philosophy espoused by City Drama Studio: Everyone can act. Everyone can improvise. Anyone
who wishes to can play in the theatre and learn to become "stageworthy".
We learn through experience and experiencing, and no one teaches anyone
anything... If the environment permits it, anyone can learn whatever he
chooses to learn; and if the individual permits it, the environment will teach
him everything it has to teach. "Talent" or "lack of
talent" have little to do with it. (Spolin 1963 p3). Spolin’s techniques are based on freeing the individual to
play, and to achieve "organic penetration" with their physical
environment. This penetration must be achieved intellectually, physically
and intuitively. The book explains Spolin’s "Seven Aspects of
Spontaneity" as a process by which her desired outcomes are achieved: *
GAMES
Provide mechanism for involvement and development of
personal freedom.
*
APPROVAL / DISAPPROVAL
Removal of the need for approval. * GROUP EXPRESSION Development of healthy group interaction.
* AUDIENCE Development of student actor’s relationship with an audience.
* THEATRE TECHNIQUES Developed organically through direct experience, games and exercises.* CARRYING THE LEARNING PROCESS INTO DAILY LIFE Using drama skills in social and workplace situations. * PHYSICALISATION Assimilation of concepts produce physical relationship with audience.
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