Taking theater or acting classes New York and studying acting allows us to act, to take action. To rehearse. Of making mistakes. To feel our vulnerability and not hide it. To expose ourselves. To play. To overcome prejudices, shame, and egos. To do things differently and try ourselves in situations we dream of. And also in those we fear. To discover possibilities. To surpass ourselves. To express ourselves freely. To laugh, cry, scream, dance, jump, and be able to be, during those moments, however we want, assuming our spontaneity and responsibility. It pushes us to unmask the different ways we limit ourselves and hide. 

An acting studio Los Angeles challenges us to do something different. It gives us the joyful opportunity to share it with other people and to offer it full of enthusiasm to the public.

In the acting class New York, our objective as teachers is that the participants can recover that spontaneity, that joy, that energy and vitality, surrendering to the game. And we achieve it, day by day, course by course.

Why acting studio Los Angeles

In the classes at the acting studio in Los Angeles, we see people playing who, in their daily lives, dedicate themselves to other tasks (doctors, teachers, computer scientists, architecture students, law students, people are preparing to enter the labor market in some area that they do not have anything to do with theater...). and we see that the game has a liberating value, regardless of their age and profession or type of life. Because, in the end, playing at being someone else, at being another, is being able to have the illusion of being anything since it is created in a space where the rules are very different from those of adult and everyday life. 

The tools of acting studio Los Angeles: the game, the body, movement, space, the group.

The game places us in an intermediate place between reality and fantasy. And in the theater, the game is our main ally. The child who plays at being a lion, an astronaut, or a mother assumes the role of the characters that he admires, loves, fears, and acts on in external space through a form, some movements, some attitudes. At the same time, these external actions impact internally and provoke a new direction, which, little by little, will cause a unique expression to emerge. There is a coming and going between internal space and external space. Sometimes, people feel more alive and energetic after playing despite the physical fatigue that some exercises entail. Play enables spontaneous and liberating expression and facilitates bonding with others. We rest a little from ourselves with the idea that we are playing, and from there, we interact more freely.

The body is the expressive medium of the actors/actresses, expressing what we are through matter. Theater classes on the timpani allow the display of corporal (and vocal) expression, the experience of the body, here and now. The different characters that appear expand our body register. The possibilities of expression are emerging and transforming us. They allow us to get out of our expressive mechanics from the known. In the body, there is also wisdom that does not come from the rational and helps us connect with that other, more intuitive part, far from the discourses in a mental loop with no exit.

But talking about the body is also talking about movement. Moving involves knowing the world in action. During childhood, activity is linked to curiosity and discovery, interest in space, the display of emotions, play, and the imaginary universe. When we talk about movement, we also consider its other side, that of rest. Do not act, do not move, be present, do not do more, and feel your existence. On stage, furthermore, the level of consciousness is amplified. The actor/actress has to be aware of himself/herself, his/her role, and that of the other actors/actresses, in addition to the physical space of the stage and the fictional space.

Acting class in New York is done in a group. 

The acting class New York group has a standard issue beyond individuality, a joint task (play, rehearsal, exercise). That means taking a healthy distance from ourselves to dedicate ourselves to our body and soul. People who come to classes, not infrequently, feel blockages or experience fear of making a fool of themselves, of failing. 

Shakespeare already said it:

Theater has always had a relationship with the human. In his play “As You Like It,” William Shakespeare writes that the whole world is a theater, and we, humans, are comedians who play many roles throughout our lives. Augusto Boal says something similar when he affirms that we are all the theater, that our relationships are structured theatrically, and that we do theater on the stage and in our lives. The difference, says Boal, is that “when we go on stage, the lie ends and the truth begins.”