All throughout year two Scott takes one day per week and Liam the other day per week. A joint approach with a similar mindset of methodology is shared along with the added challenges of receiving information from two different teaching styles.
In the first semester we get back to basics, having a year in the program the expectation is that your new use can now be re-enforced. We play in a palate of exercises that help identify where the body/mind tends toward tension and contraction in order to protect itself through habitual unconscious behavior. Once identified, new pathways are offered. A progression of a more complicated workload is entered into in order to expose habitual grabbing and end gaming.
Next we explore, through text in heightened circumstances, any tendencies towards manipulations and holding. Work is done with the student individually both in class and in private tutorials to move the voice into a more forward and supported position. During this semester we work a lot on back sound or 360 degree sound - the ability to be heard and understood equally no matter which direction you are standing. Near the end of the semester we introduce the diagnostic tool of the camera so that the actor may start to self-diagnose the more subtle tendencies that still remain from old patterning.
During the second semester we re-visit the process of integration while working on scenes. The process through this work takes most of the semester, spending a lot of time and attention on every phase of the rehearsal process. Students have the opportunity, through work on a character, to develop a vocal choice that fits the natural progression of their rehearsal process. A more in depth process with text and memorization is worked. As well, a full investigation of how the choices of character will start to affect the vocal use of the character. Finally we begin to run the scenes with all the dynamics of play-like conditions in order to challenge the actor to maintain their learnt vocal use with the demands of the scene and performance in general.
Basically, through the introduction of scene work we work on the ability to take two years of voice/breath training into the art of acting. This final stage is very meticulous hands on work aimed at getting to what we "really" do when we act, when we let go of a vocal or movement focus.
Before you leave for summer we do individualized diagnostics of your vocal use where we run you through a series of exercises and make assessments. During your last class we issue individualized prescriptions elaborating what to work on during the summer and go over with you a way to work on it most effectively.
Meet Scott Miller
Meet Liam Joynt