Acting I & II
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. 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.

Voice and Speech
The Vocal Production class introduces the actor 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 to release tension and how 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.

Alexander Technique
Alexander Technique is a method for managing tension and remaining present on a moment-to-moment basis. Through simple exercises, you will learn to recognize habits of tension and to keep those habits from interfering with your performance.

Acting III & IV
In concert with Terry Schreiber’s Script Analysis class, this semester focuses on fulfilling the demands of the playwright. Scenes are rehearsed with emphasis on the physical and psychological elements of characterization, deepened emotional involvement, and pursuit of objectives through concrete actions.

On-Camera
This 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.

Commercial Acting
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, analyze copy, create a ‘moment before,’ establish an environment, handle the ‘dreaded interview,’ and tag the spot.

Script Analysis with Terry Schreiber
In conjunction with Acting III, the class offers rigorous, insightful study of the text, designed to break down vital structural elements and components of the script that help the actor explore the use of given circumstances, character through-lines, beats, actions/intentions, and biography.

Shakespeare Workshop
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 research Shakespeare’s plays, scan iambic pentameter, find emotional clues, unlock the text, and guide the voice, body, and emotional life to their full potential. Group physical and vocal exercises are followed by individual work in either monologues, sonnets, or scenes.

Business Workshop
The Business Workshop provides each actor with the nuts and bolts of working professionally, including the current demands of virtual auditions and self-tapes. Headshots and resumes, business strategies, and representation options are thoroughly explored. The goal is to help each actor identify and market his/her talent.

Audition Workshop
Introduction to audition process for stage and film, both online and in person. Includes study of the text; making clear, informed, specific choices; working with the reader; taking adjustments; and focusing and relaxing before the audition. Designed to give the actor practical tools to confidently give a solid audition that will book the job.

Performance Workshop
A six-week cycle in which students are cast in a play, follow a rehearsal process, and present the work online for an invited audience of family, friends, and industry. The focus is to apply the training of the two prior semesters to the demands of bringing the work to performance. The work will also be filmed and edited for graduates to have footage for their casting reel.

Admission is by interview and audition. Applicants must be 18 years old or older. (Some exceptions may apply.) Applicants must submit the following:

• A one (1) page essay explaining why you want to study acting. (Essay should be typed in 12-point font and double spaced.)
• Two (2) letters of recommendation– must be sent separately. (Must include addresses and telephone numbers of the referring party. The letters should be from instructors, industry professionals, or persons who can recommend the applicant’s character, potential and commitment.)
• One (1) picture and resume (description of applicant’s acting experience)
• Interview/Audition consisting of 2 contrasting contemporary monologues (totaling no more than 5 minutes). Please email a link.
• International students whose native language is other than English must demonstrate sufficient competence with spoken and written English. This is a necessary step to prevent problems with faculty and student verbal communications from impeding a student’s learning and development. Proficiency is determined through the application and audition process. This school is authorized under Federal law to enroll nonimmigrant alien students.

T. Schreiber offers a very limited number of partial scholarships for select incoming students of the One Year Conservatory. After being accepted into the Conservatory, students can request consideration 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
The Peter Miner Memorial Scholarship Fund: $1000-$4000

The 2020-2021 One Year Conservatory will be held online with the possible option to move to in-person classes in the Spring Semester, dependent on NYC safety guidelines and best practices befitting our industry. Should the conservatory move to in-person classes in our NYC Studio, the instruction may continue online for those unable to travel to the city.

Housing costs are not included in the tuition price. T. Schreiber Studio can suggest independent housing providers throughout the New York City area, and websites such as newyork.craigslist.org, 92nd Street Y or studenthousing.org are a good resource. 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.

This school is authorized under Federal law to enroll nonimmigrant alien students.

Feel free to contact us for details at 212-741-0209 or studio@tschreiber.org.

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, 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.