Nevares Acting Studio
As forewarned, there are some important changes to the Studio’s operation from this point onwards.
The most important change is that sessions will now take place on Monday evenings from 6:30pm to 9:30pm starting January 23rd 2012
The Nevares Acting Studio London has now become a ‘Closed Studio’ in effect from the above date.
Anyone wishing to join in future will have to go on the waiting list and warrant a commitment to the studio. Therefore, the above is the last opportunity to become active member for those who have not managed to attend regularly and for friends of ours who have wanted to join but have not actually attended.
There are more good news: Currently Members pay from £60-£75 monthly. We propose to charge £50 for full time members for a five-week period. The fee nevertheless is for the 5wk period and no part of it is refundable if a session is missed. Payment in instalments will only be considered on an individual basis and cannot be guaranteed.
Anybody who wants to attend in a pay-as-you-go manner will be classed as Observer; although they will be welcome to join in exercises and scene work, if desired; however they will pay £20 for each weekly three-hour session.
We trust that the above changes will boost the Studio’s operation through more regularized attendance. To further support this, a session theme structure will be introduced (see below).
Finally, further to agreements with a known provider of actor’s skills courses, we can look forward to an short, intensive course/workshop such as many Studio members have expressed interest about. Dates and fees for this will be published presently.
Please contact myself to book regular 5wk sessions for the coming period.
Happy Winter Holidays!
R NEVARES
Five Week Building Block Sessions
Three Hours; Once Weekly
Building Block One—Inside Out
* Week 1 Cast Iron Casting
o Developing Successful Audition Personae
o Sight Reading/Cold Reading
o Emploi au theatre/Circle of Roles-Choosing your best practice material
* Week 2 Analyze This!
o Applicable Text Analysis
o Water Tight Memorizing Technique I
o Partner Work I
* Week 3 Analyze That!
o Active Analysis/Method of Physical Actions
o Water Tight Memorizing Technique II
o Partner Work II
* Week 4 From Page to Stage I
o Putting Scenes On their Feet
o Partner Work III
* Week 5 From Page to Stage II
o Dealing with Styles, Genres and Screen Acting
o Making a Good Scene Great-- Improving from Rehearsal to Rehearsal
Building Block Two—Outside In
* Week 1 Analyze This!
o Character Work- Choosing your best practice material
o Building a Character- Stanislavski Approach
o Applicable Text Analysis
o Water Tight Memorizing Technique I
o Partner Work I
* Week 2 Mikhail or Michael?
o Building a Character- Chekhov Approach
+ Energy Centre
o Associative Observation
* Week 3 Mikhail or Michael? II
o Building a Character- Chekhov Approach
+ Psychological Gesture
o Associative Observation II
* Week 4 From Page to Stage I
o Building a Character—Making it work for a Scene
o Putting Scenes On their Feet
o Partner Work II
* Week 5 From Page to Stage II
o Building a Character—Making it work for a Scene
o Dealing with Styles, Genres and Screen Acting
o Making a Good Scene Great-Improving from Rehearsal to Rehearsal.
Rogelio Nevares is a highly practised Acting Teacher who trained as actor and acting tutor in Moscow, Russia; he has been teaching and directing for the last ten years within a range of acting and drama schools in the United Kingdom. Whereas in this and other countries it is easy to find a great number of quality acting coaches who follow the American tradition of Method Acting, there are precious few teachers outside of Russia who can teach Stanislavski technique as it evolved in its country of origin.
The Technique taught in our Studio is based on the Stanislavski System, as learned by Rogelio Nevares training as actor and acting teacher in a top Russian acting school, a faculty of the All Russia State University of Cinematography (VGIK) in Moscow, the earliest, biggest and most prestigious film school in the world. He also studied in Harvard University under Dr Anatoly Smeliansky, editor of the complete works of Stanislavski and Principal of the Moscow Art Theatre School Studio.
This approach to teaching and self-learning the Acting trade was envisioned by Stanislavski then further developed, streamlined and perfected by himself, his associates, his students as well as by Russian and Soviet actors, directors and acting teachers throughout the twentieth century.
Few teachers working in the country can claim such direct derivation from the original source of this methodology, or any other for that matter, nor access to the wealth of knowledge, bibliography and data gathered during a hundred years of Russian acting technique.
Rogelio Nevares Acting Studio, in all its venues, will offer time, place and highly informed guidance to working actors who wish to invigorate their sluggish career or who want to raise employability potential through the development and sustaining of reliable, tangible, high-quality acting technique. The Studio’s particular operation will guarantee an atmosphere of focused creativity as well as clear consensual feedback and analysis.
Rogelio Nevares’ Technique, most specifically, is a no-nonsense, all-encompassing procedure which individual elements can be readily applied individually or as a whole:
• by artists within different levels of ability, expertise and experience, from the complete novice to the seasoned working actor;
• to solving acting tasks within live (theatre) and recorded media (film, TV et al);
• encompassing the full range of dramatic styles and genres including the musical;
• in order to solve acting tasks of any type or length of time whereby acting must be sustained, including:
*the few seconds in which a line of dialogue or a reaction shot is filmed
*the performance of a song or aria
*the playing of a full scene in a play, musical, opera, operetta, film, et al
*a full play or screenplay
*audition material/sight reading
*monologues, soliloquies, one-man shows
*clown etude
*stand-up comedy material
*the creation of a character for:
-devising
-play development
-script development
