Prior to discussing the atmosphere and the process in the classroom it is very important that the actor thoroughly research the chosen place of study.nnNo actor, beginning or advanced, should enroll in a studio sight unseen. Attend an orientation, or forum, about the work- whichever the studio is offering- and insist on an interview/audition with the teacher for the class you are to be in.nnIt is vital to you that you enter a class in which you will feel comfortable, yet challenged. A budding talent can be crushed, stopped, or inhibited by getting into a class that is over the actor’s head and far too advanced. I personally do not know how, for instance, a beginning actor can be placed in a class with more advanced actors without it being detrimental to the work of either actor. I also do not know how you can work in a class with over twenty actors in it. Yes, you can learn from observation, but acting is doing and you must be able to get up at least three to four times in the month. Ideal class size is sixteen to eighteen actors, giving you a good balance of partners and a variety of scenes according to age types in the class. Beware of the class that gives you ten minutes for a scene and 10 minutes for critiques. That kind of class is analogous to a treadmill in a beanery. The work and critiques, especially if the teacher takes time to work beats with the actor, help them to deepen choices, and take more chances and risks with their choices, should give the actor a good forty-five minutes on the stage.nnAfter the first time up, usually there is a specific discussion as to objectives, givens, and what the actor is attempting to solve at this stage of rehearsal. The second time up becomes more of a work rehearsal. Both of these times up, of course, are based around the actors putting in the three to four rehearsals (usually two hours in duration) outside the studio.nnFrom the first day of class the actor must feel they are walking into a safe environment. One in which they will feel comfortable and open to taking risks and chances in the growing process of “the work”. That kind of atmosphere will give the actor an immediate secure and supported feeling establishing the trust not only with the teacher but fellow peers in the class.nnAt all times the work must be about the process of the craft and not result orientated. To learn the process means letting yourself be willing to “fail”, knowing that the so-called failure can lead to growth. The work is not about playing it safe and always just working from comfort zones, but taking chances with choices in both exercises and scene study. The actor needs that safe atmosphere to be able to will themselves to take these risks and it is the teacher’s responsibility to provide it.nnJudgmental criticism, harsh or negative, does not encourage an actor to get up and work with a sense of freedom or abandonment. Fear of the teacher and incurring their wrath in front of the class leads to tight, tense, “how bad am I going to be this time” kind of work.nnWhether the actor is working on an exercise to add to their “tool kit” or exploring a role in a scene that will stretch them, there should be no obligation to entertain the class or the teacher with performance results. The process must always be about “learning how to use yourself more fully” in the work. As an actor, the only instrument you have to play on is yourself and there is nothing more wonderful that you can create than what you are. Instilling this in the actor and helping them to work from their mind, heart, and will is the essence of a good teacher and conducive to a trusting class room atmosphere.nnI am death on auditing and consider it to be “selling a class at the expense of the actors in the class”. The second you have auditors is the second you introduce “judgment” into the work. The class work must be kept free of judgmental values. Those values are for the final result in performance and performance results must be kept out of class.nnAfter a scene the actor must be able to comfortably talk about what they were working on. Clarifying their objective, choices to solve the givens of the scene, and character problems they encountered. Discussions vary as to how they fulfilled that objective over the other stated goals, and how they could deepen the work and achieve fuller results in the process. The actor has to feel at ease in these discussions and not attacked, especially when they are discussing the “personal work” they went to in order to meet challenges of the scene and accomplish psychological and emotional depth in their character. The actor must not feel it is an adversarial relationship between himself and the teacher, but as open exchange about the work.nnSide note to the teacher: If there are personal things to say with the actor, and not proper to discuss in front of the class, have a private in-office session. This helps an actor to feel safe and protected.nnActor’s have to take responsibility for the text, adhere to the lines and not paraphrasing. Honor the writer’s words, punctuations and rhythm. This is a discipline that must be instilled in the classroom.nnA safe atmosphere in class makes it easier for the actor to open up, explore, and go much deeper and more personally into the work. An actor must know in their mind and heart that they have the privilege to fail and it is safe to do so. This will encourage “going for it” and making more heightened choices of playing intention, and a willingness to dig deeper in themselves to find the character.nnClass comments from other actors in the class should be monitored very carefully. Actors commenting must talk about the work and not make audience evaluations. For instance it’s fine for and actor to say “I thought the work was wonderful” but I want the actor who makes the comment to elaborate why they thought it was “wonderful” in acting terms. Negative attack by one actor to another should never be allowed, or opinion as to how they would have played the role. The actor who has just worked must be protected as they are very vulnerable and an easy target.nnI think a professional actor demonstrates a wonderful ego by coming back to class in between jobs to work on problems they’ve encountered or using the class as a sort of gym to workout in. That actor certainly has to feel safe and trusting to make that decision. Yet, another reason why the classroom owes that actor a creative, secure and trusting surround for learning and growing.nnOne last rule about the classroom: No teacher has the right to work out their professional disappointments on students, anymore than try to play amateur psychiatrist, or replace mom or dad. A craft is being taught and personal “isms” should be left outside the door. Create a nurturing atmosphere and the work will take hold for most actors willing to give the time and discipline to their study. The class is not about judging talent. It is about creating an environment that is nurturing and supportive in helping the actor to get to their talent. They also must feel that the investment of their talent, time, and money will result in the possibility of future work and successes in their chosen profession. To mold and hone their instrument, actors need constant assurances that it is safe for them to open up and let the richness of themselves happen.
