The 10 week session in New York ended on Sunday May 28th, and I flew to Paris that evening and began the Paris Intensive Monday morning. Itís been several years since Iíve done that, and I wondered how I would be. I am pleased to announce that I still enjoyed the experience. It made me feel young, and the Paris stage went very well.
The New York session also went well. The pleasure of teaching is seeing someone learn and change, and anyone who has participated in my workshops sees that happen. Sometimes, rather dramatically. It was many years ago, when I first began to work in Europe that people made me aware that what most marked my work were the moments of spontaneity that occurred in actorsí work. Though I knew that spontaneity was a fundamental part of my process, I was unaware until then how much it marked my teaching.
Certainly, I am prepared. I think about what I do, continually. But, I never know exactly what Iím going to do. Or, what someone needs to learn, or is going to learn. I have no plan for teaching, no course outline. I work with each person who comes to me, in an interactive dialogue, to help them to know themselves and become the best actors they are capable of being.
As Iíve often said, if I can teach people something, there are two things I want to teach: That the actor has two best friends. Themselves. And the play. Most actors are their worst enemies. And, they canít read; meaning that they donít clearly understand what the writer has written. This latter problem is what I believe is the most serious problem on all levels of the profession. If I fix those two realities, the actor has the power of self-knowledge, and the experience to be able to clearly perceive and understand what the writer has given them. This helps them to develop a partition of life that they can play every night, like a musician.
While the process is clear, it is understood through how one feels, rather than from how one programs oneís mind. One of the most difficult realities of the Organic Creative Process is explaining it to someone else. How do you explain how your feelings are clear, and as reliable as any mind programming that is at the basis of most teaching processes for acting? You can only say that you have learned to trust your feelings, and know that the mind can play tricks on you.
The older I get the more I am aware of hearing my fatherís voice saying things that I say to you now. ďThe biggest problem in acting is that the actor ignores the impulse.Ē And, ďDid you do what you wanted to do?Ē I remember him saying this to me and to other actors from the first moment I sat in the back of his classes. If anything, his voice is stronger now.Some of you are, or will become, teachers, may find my voice in your work.
MY SCHEDULE THROUGH THE END OF 2017
I will go to Montreal for a three day workshop at the end of June, and then be in New York for the July Teacher/Director/Actor Intensive Workshop from July 3-14. Both are full.
At the end of August, after swimming in the Ocean of Brittany for a month, I will be in Milan for two weeks, from August 28-September 1, and September 4-8, conducting two one-week workshops. For information contact email@example.com
Then I go to Vitoria, Spain from September 11-15 for another week workshop at Ortzai with Iker Ortiz de Zarate, contact firstname.lastname@example.org
Lastly in Europe this year, I will be in Madrid for two weeks, from September 18-29, contact email@example.com
The 10 week Fall session in New York will be from Saturday October 7-Sunday December 17, 2017. Contact me at firstname.lastname@example.org
I wish you all a wonderful summer, whether you are working or living or both. The English have a great expression for when they are unemployed. They say, ďI am resting.Ē