\Alan Gordon Studio
Alan Gordon Studio
 
Alan Gordon Studio
 
Alan Gordon Studio
 
Alan Gordon Studio
 
Alan Gordon Studio
 
Alan Gordon Studio
 
Alan Gordon Studio
 

 
Alan Gordon Studio
 
LEARNING TO LISTEN THE MEISNER WAY
THE ELEMENTS OF CHARACTER
FINDING MY WAY BACK
IT'S A JUGGLING ACT
 
 
Alan Gordon Studio
 
 
Alan Gordon StudioONGOING CLASSES FOR OUR 2017 SCHEDULE

Alan Gordon Classes are intensive and hands on. His approach allows him to guide students through all stages of the technique. A major goal of The Meisner Technique is to get each student working truthfully and instinctively from themselves to replace thinking with doing. Maintaining small groups allows students to work several times during each class in a supportive and conducive learning environment.


Alan Gordon StudioMEISNER TECHNIQUE CLASSES

 Tuesday evening from 7:00 pm to 10:30pm 
Wednesday afternoon from 1:00 pm to 4:00pm 
 Saturday at 12:00 PM to 3:30 PM 

$50 per weekly session / Payable Monthly 
On-going classes, students may start at any time

The Meisner Technique was created by Sanford Meisner to develop the actor's instincts by removing the thought process from the work. The 1st stage begins with the "first thing" repetition exercise. At this stage the students learn to place all their attention on one another and repeat verbatim what they hear. They add nothing to the exercise. No line readings, emoting or forced responses. By staying in the repetition students connect with Meisner's first rule: don't do anything until something happens to make you do it.


Alan Gordon StudioSCENE STUDY & AUDITION TECHNIQUE CLASSES

Wednesday evening from 7:00 pm to 10:30pm 

$50 per weekly session / Payable Monthly 
On-going classes, students may start at any time 

In scene study class Alan focuses on a detailed breakdown of the script into its essential elements. Starting with a table read, after which Alan will provide students with notes and send them home to work on their own. Information is exchanged and students work out a rehearsal schedule during the week. If for any reason you cannot meet with your scene partner you must contact them to re-schedule. If your scene partner cannot make it to class bring a back-up scene (with additional copies) to class. Make the best use of your time. Don’t avoid class because your scene partner is unable to attend. There is always work to be done. We also work on audition technique, and improving cold reading skills in every class. Students are welcome to bring audition material to class to work on.

My approach to scene study is very detailed. We start with the table read. After reading the scene in "neutral" students begin to craft the scene paying strict attention to details:

1. Relationship between the characters.

2. Preceding emotional history including the "event" that provokes the emotional response in the 1st moment.

3. identifying the actions, objectives, and motives that are present in every "beat".

4. Emotional preparation as it pertains to the 1st moment.

5. Using curiosity, intuition and deductive reasoning to arrive at active choices.

6. Exploring the reasons that keep the characters in the scene.

7. Applying "listening" to the script.

8. Creating urgency by raising the stakes.

9. Finding the meaning to the moments through the body not the head.

10. Use of emotional parallels.

11. Use of the magic "as if".

12. Understanding the time, place, and imaginary circumstances.

13. Emotional preparation as it relates to the first moment.

There are many more aspects to scene work that I cover in detail in my class.


Alan Gordon StudioPRIVATE COACHING

$125 per hour / Package deals available 
Minimum 1 hour session 

Currently interviewing for all levels 
Beginners and advanced are welcome 


ASK ABOUT MY SKYPE AND FACETIME SESSIONS!


Alan Gordon StudioPRIVATE ON-CAMERA COACHING

$125 per hour / Package deals available 
Minimum 1 hour session 

Currently interviewing for all levels 
Beginners and advanced are welcome 


DVD INCLUDED

In my on-camera classes, drawing from my personal experience as an actor, extensive reading on directing, and coaching hundreds of actors over the years, I address specific elements of on-camera technique.

1. The actor's point of view must be crystal clear in the "first moment". Your emotional preparation is a reflection of the writing. You can't fake emotion. When in doubt, do what you are doing as truthfully as possible. The truth carries a lot of weight.

2. *The scene or monologue must be fully broken down before going on camera.

3. The actor has to have all of their attention on the reader.

4. Excessive head movement, eye rolling, arbitrary physical gestures/movement, voice acting, squinting, and all forms of indicating must be eliminated. The camera records every false move made by the actor.

5. Excessive blinking conveys uncertainty and creates a distraction.

6. Of course you can move, but your movement must be paired down in the 2T or close-up. Inorganic movement is a distraction, conveys lack of discipline/control and appears rehearsed.

7. Spontaneity is the product of instinct. This is something that precedes going in front of the camera. Instincts develop over a long period of time. Everything you "do" must look like you are doing it for the first time.

8. Avoid working at a 90 degree angle from the camera. Make sure the reader is as close to the camera as you can get. Work out the eye-line with your camera man. The agents and casting directors need to see your reactions.

9. These days actors are "off book" for their auditions. Make sure you have your lines down. You don't want to be thinking on camera. As Meisner said, "Acting is doing" not thinking.

10. Avoid line readings at all cost. Throw your homework away and stay in the moment. Line readings are predetermined responses to things that have not happened yet.

11. Your emotional preparation takes place before you go on-camera. It must be reflective of the point of view suggested in the writing.

12. Urgency is not a luxury. It's a necessity. You must know how to raise the stakes. Find them before the shoot. They're not going to magically appear if you haven't found the specific relationships to people, places, things, and events. Leave no stone on turned.

13. There are many other elements I address when I film actors. Those elements are a product of what is happening during the shoot. It is a combination of experience, instinct and my objective and subjective eye. I address many things as they occur in the moment. Every actor has their own unique temperament and I work with each individual based on their needs.

*Please refer to my scene study notes


$50 per class-paid monthly
First month ($200) due in full
Package deal for private coaching
One time free audit for each class
Read my class Policy Sheet

All Classes are held at:
The Player's Theatre
115 MacDougal St. 
(bet. West 3rd Street & Minetta) 
New York, NY 10012 
*Room number is always posted on door*


Skype

Alan Gordon

ASK ABOUT MY SKYPE & FACETIME SESSIONS!
Interested parties, please contact us at 
alangordonstudio@gmail.com to register.

 
 
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Alan Gordon Studio
"Alan Gordon has the unique gift of helping students at all levels of their artistic development find truth in their work and..." ~ Jenna DiMartin
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