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Acting & Training

Nobody is born an accomplished singer or a good actor.
Acting is a profession requiring insight,
a certain attitude and – even more importantly – dedication. Acting is not simply doing ‘something’ and then waiting to  see what happens.
It is an endless process of learning and training, which needs as much  commitment as singing. Acting means working with one’s mind and body.
An inexperienced actor often lacks self-awareness and self-analysis.
Acting Training’s basic question can be defined as:
Why am I doing this and how do I experience it?

PERSONAL VISION
The student is encouraged to refine a personal vision
and to deal with his/her own physical abilities.
Through training, the student becomes aware of breathing,
posture, presence and attitude.
He or she enquires into the concepts of relaxation and exertion.

 

REFLECTING
The IOA encourages its students to reflect on questions including: How do I free myself up to improvise?
How do I act as part of an ensemble? How can I improve my listening
and watching of others and am I able to communicate this competently?

Am I sufficiently daring and creative to express my imagination in my acting?
Am I sufficiently daring to explore and push my boundaries? How do I integrate all of the above into my acting while also being required to sing?  

NO SPECIFIC TECHNIQUE/METHOD
Acting Training is not focused on one specific technique or method
(e.g. the Stanislavski technique, the Grotowski method).
Students practice acting through improvisation, text analysis, etc.

The focus is on the student as ‘actor’. The course is focused on the student’s autonomy. The student’s development and experience are tested through a more individual approach.
The goal of this course, then, is for the student to gain insight into
and awareness of the actor within oneself. 

Movement Training

The Movement Training programme largely consists of two parts. 

During the first part, students focus on the body. Subject taught include standing and moving in a firm, yet relaxed, manner; the origins of tension and how one is able to deal with this; warm-up and cool-down; moving and falling in a natural though controlled manner. 

During the second part, students inquire into the expressive possibilities of movement. Through specific research exercises, students explore and widen their personal scope of movement and expression. 

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