The T. Schreiber Two Year Conservatory is seeking highly motivated passionate actors committed to becoming vital artists. Our Two Year Conservatory expands upon our comprehensive and specialized professional training designed to prepare you for a thriving career in theatre, film and television. This full-time, demanding program is tailored to serve your individuality and talent and to develop you into a fully rounded actor in whom body, voice, and instinct are integrated. The Two Year Conservatory trains actors in a range of disciplines, including physical theatre, devising, film, commercial acting, improv and singing. This program culminates with an industry showcase and Reel Workshop, giving our actors all the tools they need to enter the industry upon completion.
We are now enrolling for the 2017-2019 Conservatory.
September 2017 – May 2019
Mondays – Fridays
1st year- 9:30am-1:30pm, 2nd year- 2:00pm – 6:00pm
Tuition: $15,995 per academic year.
Tuition for Early Decision is $12,995.00.
For Early Decision, the application deadline is March 31st.
T Schreiber Studio offers a very limited number of partial scholarships for select incoming students for the Two Year Conservatory. After being accepted, students can request to be considered for a partial scholarship, which will be awarded based upon financial need, merit, and talent. The awards currently available are:
Roxi Sorina Scholarship Fund: $200-$500
T. Schreiber Scholarship Fund: $1000-$4000
Actors will be chosen based on their previous training, talent, potential and our belief that at the end of the training process, they will be ready to be showcased to industry professionals. Actors benefit from individual, hands-on attention and sustained guidance from master instructors active in the industry. Performance opportunities in one of New York’s most popular celebrated Off-Off Broadway theatres enable the actors to apply the lessons they have learned.
The first year is divided into two twelve-week semesters followed by a final 6 week workshop session, culminating with the public sharing of a scene and a devised piece. First year classes meet from 9:30 a.m. – 1:30 p.m. five days a week. Outside rehearsal is required to supplement class work.
The First Semester
The First Semester is comprised of fundamental technique courses designed to build a solid acting foundation and develop the actor as a fully expressive instrument.
Concentration is on developing the actor’s free, spontaneous, truthful use of the self. Training is based on the three-step philosophy that relaxation enables concentration and thereby unleashes imagination. Techniques include relaxation and visualization exercises; development and implementation of moment-to-moment, concentrated involvement and working off partners; as well as introduction to and application of emotional preparation for scenes.
Open, honest listening and responding is taught through a series of structured Meisner exercises to develop the beginning actor’s instincts and imagination and help to unselfconsciously bring a script to life. Building in confidence and trusting impulses, the actor allows truthful behavior to develop in a moment to moment progression of the exercises. These techniques are then applied to a scene from a produced play, allowing the actor to bring a role and the scene to life. Two sets of dramatic scenes are assigned as vehicles to apply the technique work and rehearsal process. Overall focus of the semester is to teach the actor how to access their unique talent through technique.
The Vocal Production Class introduces actors to a range of physical exercises to discover their true voice and develop a fully expressive instrument. These exercises strengthen breath control and develop articulation, vocal tone and resonance. The work shows actors how to stay on the breath, how to release tension, and how to connect to themselves and to the emotions and language of any character. Actors learn the proper use of warm-ups and how to structure them to fit rehearsals, performances and auditions.
Body Dynamics focuses on developing full expressive use of the body. Chronic tensions are released through a combination of the Feldenkrais method, Bioenergetics and Soft Tissue Release. By promoting the flow of energy throughout the body and strengthening the connection between emotions, thoughts, and physical expression, the actor’s greatest instrument is trained to achieve its fullest potential.
The Second Semester
The Second Semester builds on the foundations established in the First Semester to broaden and hone the actor’s technique, and includes additional classes tailored to the demands of the industry.
This semester focuses on fulfilling the demands of the playwright. Scenes are rehearsed with emphasis on physical and psychological elements of characterization, deepened emotional involvement, and pursuit of objectives through concrete actions. Actors focus on finessing the moment-to-moment involvement, deepening the emotional preparation work, incorporating the ‘as if’, holding the moment, and strengthening their point of view.
This course is designed to deepen the actor’s connection to and awareness of their potential for physical expression. Students hone skills that allow them to place the body as the center of the story-telling process. The focus is on ensemble-driven physical theatre techniques and familiarizes students with principles from the Viewpoints and composition, dramatic acrobatics, Laban Movement Analysis and Lecoq’s Neutral Mask and Elements. This course will lead into a performance lab in the third semester and culminate in an ensemble-driven piece of physical theatre.
A continuation of the work begun in the first semester, students begin to connect their physical discoveries with given circumstances and scenes. This class tracks in conjunction with the acting class, building an integrated and holistic understanding of an actor’s movement practice.
A continuation of the work begun in the first semester, students also learn the fundamentals of speech production and how to control them. By mastering the International Phonetic Alphabet and the mechanics of speech, students are able to understand how speech is made and how they can train their own speech patterns for maximum clarity and communication.
The Third Semester
During this six-week cycle known as the performance workshop semester, students work toward the public sharing of a scene from a contemporary play and a devised ensemble theatre piece.
An extension of the work begun in the previous semester, students will complete an intensive round of scene study, culminating in an evening of scene presentations.
Students are guided through the creation of an original, devised ensemble theatre piece.
The second year is divided into one twelve-week semester, followed by a twelve-week performance semester in which the students are cast in, rehearse and perform full length pieces, followed by a final six-week semester including an industry showcase. Second year classes meet from 2:00 p.m. – 6:00 p.m. five days a week. Outside rehearsal is required to supplement class work.
The First Semester
The workshop integrates the vital acting tools of truthful talking and listening, character creation, and moment-to-moment involvement with the technical demands of the camera. The course explores how to adapt acting technique to on-camera work and introduces the use of stillness, shooting out of sequence, resisting the temptation to do too much, and maintaining spontaneity while matching action. Exercises, improvisation, and scene work are used to help actors grow in confidence and skill.
This class offers rigorous, insightful study of the text, designed to break down vital structural elements and components of the script that help the actor to explore the use of given circumstances, character through-lines, beats, actions/intentions and biography. Scenes are explored for clarity of events, individual objectives, beats and intentions. An emphasis is placed on character behavior, activities, inner monologue and emotional life. Exercises are used to help actors dive into a character’s physical and emotional life, increase relaxation and concentration, and open up the actor’s instrument and imagination. Personal, thorough and supportive critiques are given about each individual’s work
The class breaks down walls of self-consciousness in the handling of Shakespeare’s language. The heightened demands of executing Shakespeare’s text will lead the actor to the full use of language in all writing styles. Tools are used to to research Shakespeare’s plays, scan iambic pentameter, find emotional clues, unlock the text, and guide the voice, body and emotional life to its full potential. Group physical and vocal exercises are followed by individual work in either monologues, sonnets, or scenes.
This class provides each actor with a set of skills that takes the guesswork out of the commercial audition process by turning the audition into a series of simple acting exercises. Actors learn how to initiate a truthful relationship with the camera, to analyze copy, to create a ‘moment before,’ to establish an environment, to handle the ‘dreaded interview,’ and to tag the spot.
These classes train the actor to master dialects for stage & screen. A phonetic approach is used to strengthen the ear and provide the actor with the tools necessary to approach future work independent of the classroom.
At the intersection of physicality and dramaturgy, this course teaches the actor to embody circumstances outside of their contemporary experiences. Investigation of the social events surrounding a play fuels the actors’ physical exploration, considering their character’s gender, religion, class, occupation, sexual identity and how these factors position them in the world of the play. Explorations range from solo improvisations to large social dances, discovering the points of contrast between our relationship to and expectations of the body throughout history. This class gives actors tools to build a physical history for any character they will encounter.
This course introduces students to healthy vocal production techniques and basic musicality. Students explore a range of genres and styles while building vocal stamina and flexibility.
The Second Semester
Work with the industry’s leading demo reel production company to create, develop, and shoot original material specifically for you. Your scene will be fully edited and ready for your reel by the end of the third semester.
Two six-week cycles where students are cast in full-length productions, follow a rehearsal process, and present the work in the theatre for an invited audience. The focus is to apply the training of the prior semesters to the demands of bringing the work to performance, and incorporating audience energy. Each actor is cast in at least one substantial role that showcases their strengths and challenges them to grow throughout this intensive, comprehensive process.
In conjunction with the Performance Series, students will receive private and semi-private coaching in movement, voice and speech. Instructors observe rehearsals and work with students to address challenges and questions regarding voice, speech and movement that arise in a full production process.
The Third Semester
The Business Workshop provides each actor with the nuts and bolts of working professionally. Headshots and resumes, business strategies, and representation options are thoroughly explored. The goal is to help each actor identify and market his/her talent.
Introduction to audition process for stage and film. Includes study of the text; making clear, informed, specific choices; working with the reader; taking adjustments; focusing and relaxing before the audition. Designed to give the actor practical tools to confidently give a solid and clear audition that will book the job.
Students begin with group exercises and scenework in this safe, encouraging environment. Elements of both short and longform improvisation are introduced, building confidence and spontaneity.
Actors are cast in and rehearse scenes that are presented in one evening as an industry showcase to invited members of the agent, casting and producing communities.
Following completion of the Conservatory program, graduates are eligible and invited to continue their training in T. Schreiber Studio’s on-going classes and workshops. T. Schreiber enjoys a full complement of advanced master classes, as well as industry and business workshops and seminars that are available to the Conservatory graduates. Graduates are also eligible to audition for the award-winning and celebrated mainstage productions presented throughout the year. These professionally designed, directed, and fully staged productions are industry showcases that attract attendance from the highest levels of the professional theatre, film and television industries. The award-winning productions provide the actors with first-class professional exposure and an entrée into the vibrant exciting New York theatre world.
Admission is by interview and audition. Applicants must be 18 years old or older. Applicants must submit the following:
Each student enrolled in the Conservatory is continuously evaluated by the faculty and given guidance regarding their progress and growth. Following completion of the program, students will individually meet with Peter Jensen, the Director of the Conservatory, and Terry Schreiber to review their work and progress with guidance and suggestions for further growth.
The Conservatory is a professional training program and professional commitment and behavior are expected of all Conservatory members. Students may be dismissed due to inappropriate behavior, absences, repeated tardiness, or, in the opinion of the faculty, non-participation. There are no tuition refunds under these circumstances.
Housing costs are not included in the tuition price. T. Schreiber Studio can suggest independent housing providers throughout the New York City area. Websites such as http://newyork.craigslist.org, www.studenthousing.org or 92nd Street Y can be explored. Although every effort has been made to ensure the quality and safety of these providers, T. Schreiber Studio does not endorse or support these providers, and all housing arrangements and financial responsibilities are the sole responsibility of the student.
The T. Schreiber Studio is an equal opportunity institution that does not discriminate on the basis of age, sex, sexual orientation, race, religion, creed, handicap, color, ethnic origin, or national origin (as defined in the Rehabilitation Act of 1973) in selecting qualified matriculates, administering its educational and admissions policies, its scholarship and financial programs, or any other school-administered programs.