Posts filed under 'Acting'
The Prague Shakespeare Festival, Guy Roberts Artistic Director, will be holding open call auditions for its 2009 Artistic Company, Tuesday May 19th at the Globe Bookstore and Café’s new outdoor stage area from 3pm – 6pm.
All actors should bring a photo and resume and prepare one memorized Shakespeare monologue not exceeding 2 minutes. Callbacks will be held Wednesday May 20th from 10am – 6pm at the Old Burgrave’s Residence, Vysehrad. Sides will be provided for actors invited to callbacks.
Actors who have previously worked with PSF or Guy Roberts and who are interested in casting opportunities may contact Guy Roberts, bypassing the general audition and directly schedule a callback. All others must come to the general audition and then be invited to callbacks.
PSF is currently casting for the following projects:
HAMLET – (understudies and replacements only)
Performances:
Tuesday June 2 @ 19:30 – Open Final Dress Rehearsal
Wednesday June 3 @ 19:30
Thursday June 4 @ 19:30
Monday June 15 @ 10:30
Venue: Old Burgrave’s Residence, Vysehrad
AS YOU LIKE IT (All roles available)
Performances:
Wednesday June 10 @ 19:30
Monday June 15 @ 19:30
Friday June 19 @ 19:30
Venue: Old Burgrave’s Residence, Vysehrad
All actors are paid 1000cz per performance. Note: Actors performing in June 15 Student Matinee of HAMLET receive 500cz for this performance.
Actors may contact PSF via email at act@pragueshakespeare.cz to arrange a specific audition time. All actors will be seen on a first-come, first-serve basis. Directors, Designers and Stage Managers may also come to the open call to submit resumes and portfolios.
All actors, directors, designers and stage managers who work with PSF are members of the PSF seasonal artistic company. The seasonal artistic company, under the guidance of the Artistic Director, work constantly together to explore a cohesive classical style. The Festival provides an ensemble atmosphere for extended theatrical exploration wherein company members work as a group to develop skills and to perfect their craft through the continuity of several productions and ongoing training workshops. The quality of commitment demanded of the company members fosters a cohesiveness and intensity of approach to the Festival’s classical repertoire. In addition to performing, training and educational activities all company members work behind-the-scenes and assist in the day-to-day administration of PSF.
ABOUT THE PRAGUE SHAKESPEARE FESTIVAL
The Prague Shakespeare Festival presents professional theatre productions, workshops, classes, lectures and other theatrical events, of the highest quality, conducted primarily in English by a multinational ensemble of professional theatre artists, with an emphasis on the plays of William Shakespeare, bringing to the Czech Republic, European and World audiences English-language based performances that are fresh, bold, imaginative, thought-provoking, and eminently accessible, connecting the truths of the past with the challenges and possibilities of today.
May 13th, 2009
Hi everyone!
I’m Boris Wilke and member of the Prague Playhouse Meisner acting group. I blog about our class activities.
On Monday, May 11th, our teacher Brian Caspe let five of us try out relaxation prior to our respective exercises.
Click on the “ACTING CLASS” button above to read more about the class itself and where we meet!
Click the “(more…)”-button below to read about Monday’s class!
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Relaxation is easy and hard to achieve at the same time. Everybody is able to calm down a bit during a break, during lunch, while waiting for something. That’s easy. But to use relaxation to become more astute, to concentrate and thus to perform better, can be hard.
On Monday Brian let five of us slightly more advanced class members leave the room before our respective exercises. We were to relax for a while to be better prepared for them. While I tried to calm down, Frederic had his exercise with John-Paul and Jana. And the former was yet again a “tsunami of truth” as Brian called it afterwards. Although I did not see the exercise, I could hear it well and was totally wrapped up in listening to Frederic’s and J.P.’s yelling and cursing – and Jana’s sneering.
It’s normal to having to relax under less than perfect circumstances. I don’t know, if I did well. But during the two exercises, that I had the luck to be able to do that evening, I felt myself much less than usual. I was more in the moment and did not at all think about myself. I hope that meant, that I was more focussed on my partners. What that relaxation did not do: It did not give me a sense of certainty in what I was doing. I might have been better prepared after all. But I didn’t really notice it.
Only time and more practice will tell, if in the long run I will be able to forget about anything that goes on around me, in order to clear my mind completely during relaxation.
But I will certainly try.
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General stuff:
Our acting class consists of some ten active members, who meet every Monday and Wednesday from 6.30 pm to about 8.30. We do Meisner. And the Meisner-technique really rocks!
If you want to connect with your inmost feelings, expressing them freely in an acting environment and thus getting to know yourself better and better, feel free to join us!
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About the author:
I am Boris Wilke, a German expat in Prague. I am a writer at large and have been studying Meisner since January 2008. If any of you know of any kind of acting work, that befits a laddish, tall 40-year-old, please leave a note!
May 13th, 2009
Prague Shakespeare Festival is presenting an expanded version of Guy Roberts’ One Man Hamlet May 15 and 18 at Divadlo Na Pradle.
Ten Actors. Eighteen Characters. One Hundred Twenty Minutes. The Prague Shakespeare Festival’s production of HAMLET illuminates the mind of Shakespeare’s greatest and most famous creation, offering new insights into the life of theatre’s most canonical character. Using only Shakespeare’s words, in a conflated text that incorporates the First Folio (with additional aspects from the First and Second Quarto), the audience experiences the world of the play through Hamlet’s eyes – only seeing and hearing the scene and moments that the character Hamlet himself experiences in the play. Taking this singular journey with the Prince of Denmark, audiences will understand the actions, themes and motives of the play’s main character as never before. Whether seen as story of devastating human domestic passions or a suspenseful political mystery of intrigue, revenge and betrayal, the tragedy of Denmark’s “sweet prince” continues to challenge and inspire.
Information about the show can be found at the Prague Shakespeare Festival website. Ticket information can be found after the jump:
DATES:
May 15th & 18th, 2009
CURTAIN TIME:
19:30
LOCATION:
Divadlo Na Pradle
Besední 3
Praha 1 – Malá Strana
TICKETS:
200kc General Admission,
150kc Student/Senior
RESERVATIONS:
pokladna@napradle.cz online
257.320.421 phone
May 11th, 2009
Hi everyone!
I’m Boris Wilke and member of the Prague Playhouse Meisner acting group. I blog about our class activities.
On Wednesday, May 6th, our teacher Brian Caspe talked with us about relaxation.
Click on the “ACTING CLASS” button above to read more about the class itself and where we meet!
Click the “(more…)”-button below to read about tonight’s class!
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Before I go on about relaxation, I’d like to stress the fact, that being in the moment and being truthful really are the key to success in Meisner technique and ultimately to acting itself.
I was humbled yet again by what happened in tonight’s exercise. I had to deal with Fred, who was very emotional and totally focussed on me, while I struggled with my activity. Instead of dropping it, I forced myself to juggle with it and didn’t connect enough with Fred, who was left alone with his sadness and anger. Had I been truthful and in the moment more, I would have shucked my activity and placed all my attention on Fred. I didn’t.
I don’t want to blame myself for anything, though. I broke down crying in class and experienced how it alienated my partners, how they shut down and left me alone with my emotion. It just happens. I know now, why they did it. Fred scared me. I was overwhelmed by his intensity. Next time I should try to express at least that. It is a step in the right direction. I did try, but I fell short of it. I will do better next time.
Rehearsal is the key to getting better. I used to think that going to class twice a week and coming prepared was already quite good. It is not enough – not, at least, if one wants to progress.
Fred has been dedicating his whole life in Prague, now about eight months, to Meisner. And it shows. I rehearse two to three times a week. It shows. Some people do not rehearse. It shows.
As with any art – any skill, really – practice lets you progress. I am a writer. The more I write, the better I get, just by writing. Fred is an actor 110%. He rehearses more than once a day and spends hours thinking about his acting work. Even he might have a bad day. But he shoots at it so hard and from so many angles, he is bound to get better – and fast at that – because he simply does it.
What is to learn from this? Acting is hard, but applying yourself to it suffices.
“I take care of quantity, God takes care of quality” is the quote of choice for this (from Julia Cameron’s “The Artist’s Way”).
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Now on to relaxation.
Brian said, it helps you prepare yourself for anything, that you need to be focussed for – be it a sport event, a job interview, a performance of any sort, an important talk or a Meisner exercise.
I have been using visualisation with amazing success for the last two years. It involves being relaxed. But I do it at home, mostly in bed, before I fall asleep or directly after waking up.
Relaxation wants less than creating a whole new world for oneself, which is what visualisation can be used for. Visualisation involves putting oneself in an alpha state. It’s a state of mind exactly between waking and sleeping. You can do it anywhere. But it involves practice and skill and oftentimes misses the point.
Relaxation is easier to achieve. Basically closing one’s eyes and getting oneself in a comfortable position does the job. People are not used to suddenly putting themselves in a state, where they can hear themselves think. They get scared by the fact, that at the beginning it is really hard to clear one’s mind. I tend to hear music a lot, even in my sleep. And it is music, my mind produces. How scary is that?!
But as much as it might be disconcerting to fail at achieving a clear state of mind at the beginning, even the most nervous relaxation-rookie automatically does relax a least a little bit, simply by doing it.
Sit, stand or lie with eyes closed and relax! That’s all you need to do, really.
Like my writing, Fred’s acting exercises or anything else, one chooses to do regularly, relaxing will lead to deeper, better, faster and more effective relaxation.
Relaxation will eventually set in within seconds. And two to five minutes of it will suffice for you to let go of tension, anger, anxiety and/or stress. You’ll loosen yourself up, so that you can easily put yourself in the moment with a full focus on doing the thing, that you are getting yourself relaxed and ready for.
Brian recommended trying out different techniques, because everyone of us needs to find his or her own way to relax.
Finding one’s ideal relaxation technique can take some time and involve work. But ain’t that one heck of a fun way to work?
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General stuff:
Our acting class consists of some ten active members, who meet every Monday and Wednesday from 6.30 pm to about 8.30. We do Meisner. And the Meisner-technique really rocks!
If you want to connect with your inmost feelings, expressing them freely in an acting environment and thus getting to know yourself better and better, feel free to join us!
+++
About the author:
I am Boris Wilke, a German expat in Prague. I am a writer at large and have been studying Meisner since January 2008. If any of you know of any kind of acting work, that befits a laddish, tall 40-year-old, please leave a note!
May 6th, 2009
Hi everyone!
I’m Boris Wilke and member of the Prague Playhouse Meisner acting group. I blog about our class activities.
On Monday, May 4th, our teacher Ben Steel prompted us on the most basic of the basics of the Meisner technique: “Repeat EXACTLY, what you hear!”
Click on the “ACTING CLASS” button above to read more about the class itself and where we meet!
Click the “(more…)”-button below to read about last night’s class!
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Last night (Monday, May 4th), we were taught by Ben. We had a woman in class, who, despite the fact, that she had done Meisner before, chose to start the technique anew right at the beginning. And we had some members in class, who are ready to add a fifth ball to their juggling. Which means, that they are already years into actively studying the technique (if you have difficulty understanding the metaphor of the juggling balls, feel free to read my last blog on last Wednesday’s class, which explains it). Their fifth ball is called “emotional preparation” which tops the other four. Those are: “paying attention to your partner”, “being aware of how your partner makes you feel”, “door” and “activity”.
This time Ben prompted us all, the very beginners and the most advanced among us, to pay attention to the first two balls, which are used in the revered Meisner technique repetition.
When you start a repetition exercise, you need to focus all your attention on your partner. You look at them and they at you. The first thing, that strikes one of you about the other person is the first “call of behavior”. That could range from: “You have a bruised lip” to “you are nervous” or from: “You are wearing pink lipstick” to “you look tired”. The person, who hears the call, then repeats it exactly how they heard it, no matter how silly it sounds or how wrong or faulty it seems. The call then goes back and forth, until a change of behavior in one of the partners makes the other one change the call.
An example:
A: You are smiling.
B: I am smiling.
A: Yes, you are smiling.
B: Yeah, I am smiling.
[This goes on for, say, ten rounds...]
A: You are smil… [starts to sob]
B: Goodness, you are crying!
A: Yes, I am crying.
B: Yeah, you are crying!
A: I’m crying.
etc.
Ben noticed, that we haven’t been paying enough attention to the exactitude of the repetition lately: When a partner repeats in a fashion, that is not the way the other partner incited it, we correct them, rather than repeat exactly what they said (from our point of view, of course!). Or we repeat a call, even though our partner failed to understand it the first time.
Faults or misunderstandings are new moments and need to be dealt with. In real life, we also acknowledge the reality of the moment. Only there we want to make sense. So we correct and explain ourselves. But in a Meisner exercise, this is wrong. The moment dictates your action. If the moment changes, your action changes.
Ben’s explanation to this is, that not repeating exactly means not paying exact attention to your partner. And that leads to a mounting lack of truthfulness. He called this lax attitude “glossing over”. Rough bits are being shorn off, annoying slips of tongue or lack of understanding are ignored, gaps are filled. All this paints over the reality of the moment and replaces it with a slightly fake version of it. And this faking can spread from sloppy repetition to other areas: In one exercise the door of our imaginary apartment stayed open the whole time, a full 15 minutes! Astute Meisner students would have noticed this reality and taken it seriously. They would have dealt with it somehow. After all, who in real life lets the door of their apartment open for 15 minutes?
Other signs of glossing over are, for example:
- We students take things for granted. Certain situations always incite the same boring, predictable calls, as if we were on auto-pilot.
- We expect a certain behavior from our partner, not giving them the chance to be truly free.
- We overlook blatant changes in our partner’s behavior, just because it didn’t fit our preconceived notion of him or her.
All of this is bad and needs to be worked on. We have to go back to the beginnings regularly. We must not think, that we are too advanced for that. And the easiest way to do that is to forget to be smart or witty and just “REPEAT EXACTLY, WHAT YOU HEAR!”
So Ben reminded us quite effectively to be humble about the technique, to always respect and pay close attention to even the most basic elements of it.
This unites the absolute beginner and the seasoned Meisner buff in humility and awe.
**********************
General stuff:
Our acting class consists of some ten active members, who meet every Monday and Wednesday from 6.30 pm to about 8.30. We do Meisner. And the Meisner-technique really rocks!
If you want to connect with your inmost feelings, expressing them freely in an acting environment and thus getting to know yourself better and better, feel free to join us!
+++
About the author:
I am Boris Wilke, a German expat in Prague. I am a writer at large and have been studying Meisner since January 2008. If any of you know of any kind of acting work, that befits a laddish, tall 40-year-old, please leave a note!
May 6th, 2009
Hi everyone!
I’m Boris Wilke and member of the Prague Playhouse Meisner acting group. I blog about our class activities.
On Wednesday, April 29th, the most striking issue, we had to deal with, was connecting to our respective partner(s). This article is about why connection is our mantra, what juggling has to do with the Meisner technique and how hard it is to stay connected, when more “Meisner-balls” are added to the exercise.
Click on the “ACTING CLASS” button above to read more about the class itself and where we meet!
Click the “(more…)”-button below to read about last night’s class!
++++++++++++++++++++++++++++++++++
Last night (Wednesday, April 29th), we were taught by Brian. And the emphasis of our exercises lay on connection. One of the most fundamental differences between the Meisner technique and other, more traditional ways of acting, is this: You need to be connected to your partner.
In a “normal” play or film, each member of the cast knows their lines. One delivers them at the right time in the right tempo and position on the set or stage. But it is of almost no importance, how your partner says his or her lines. If they mess up, that’s their problem. You might want to gloss it over some. But the main goal is to just get on with your lines.
Meisner hated this kind of behavior, because it lacked truthfulness. In real life we don’t talk to the person facing us without checking, if they got our message and how they took it. We change, what we have to say, according to how they react to us.
That is exactly, what Meisner demanded of his students as well – that is, what both Brian and Ben are telling us all the time: “Don’t do anything, unless your partner makes you do it!”
It’s Meisner’s mantra, really.
What can happen in class because of this mantra – and it happened to me yesterday – is this painful experience of humiliation…
I was bursting to deliver my lines – Paul and I are “doing” a scene from the Pinter play “Betrayal” at the moment – and Brian gets cross with me and tells me to forget the scene and just “repeat, repeat, repeat!“
Because of the fact, that I wanted to get into the scene so badly, I failed to connect with Paul, who in turn failed to make me snap out of my scene-spleen. I was in my head. At least there was some sheet of cerebralness, that put itself like a veil over the truth of the moment.
You might know this from normal life. You are chatting on your computer, while somebody is talking to you on the phone. Suddenly they yell at you: “What’s wrong with you?! You seem totally distracted. You are not paying attention to what I’m saying at all! Jerk!” For the same reason, it is prohibited by law to drive with a mobile phone clutched to your ear. If you do two things at the same time, you are bound to lose your full attention to either of them. Women, you might tell me differently: But having to think about Pinter’s play while trying to connect with a bloke, who is threading beads on a string to make earrings, is nearly impossible, even for you!
Now comes in the metaphor of the juggler. If you repeat, which is the basic Meisner technique, you need to pay attention to your partner and how they make you feel. That’s two balls. Add a “door“: You need something, badly, from your partner. That occupies you, while you repeat: Another ball. Add an “activity“: You need to get something done, really fast and urgently: Another ball. Add a scene: You need to follow certain lines: Another ball.
That’s five balls.
Try to juggle with five balls! It’s really hard. How can you achieve it? Only by practicing and practicing and practicing, until one day, you actually forget about the balls and juggle them without having to think about it.
This can mean, that you have to go back to juggling three or four balls. Or, in the case of our scene, that you forget about it and pay attention to repeating, until some lines pop into your head and get flung out without your paying attention to it. That would be, as if you are juggling with four balls. And from time to time someone throws you a fifth ball, that you juggle for a short moment until you drop it and continue to juggle with four again.
The lessons to learn from this are manyfold:
Work step by step! Don’t juggle with too many balls too quickly! If you overload your system with stuff you struggle to achieve, you will drop more than just one ball and mess up everything. Be humble enough to resort to the basics: Repetition! If a strong connection builds, you might try another ball for a moment. Then again, you might not.
Be prepared for rough going! If you add a ball, you might drop it. That’s the name of the game. You need to try to add balls, though. Otherwise you won’t progress. But don’t overdo it! Don’t get frustrated, when a ball drops! Just try again and play with it. Go back and fourth! Give yourself room to expand but also to resort to well-known areas! Be fluid!
And last, but not least: “Von nichts kommt nichts!”, we Huns say, meaning: “Nothing comes from nothing!” If you don’t invest in the technique, you will not earn anything from it. Half-assed preparation will result in half-assed rehearsals, or worse still: half-assed exercises in class, resulting in humiliation or frustration – or both.
Try to see the goal less in the result but in the process, though. As long as you make the next step, you’re moving forward, no matter how slow.
And as Schwarzenegger always said when he took another round of steroids: “No pain, no gain!”
Try to say dat vissss an Austrian eccent and laugh about it, before you wreck your mind again, trying to come up with another one of those endless doors and activities. Look at it from the bright side! There you go!
That’s the right attitude!
**********************
General stuff:
Our acting class consists of some ten active members, who meet every Monday and Wednesday from 6.30 pm to about 8.30. We do Meisner. And the Meisner-technique really rocks!
If you want to connect with your inmost feelings, expressing them freely in an acting environment and thus getting to know yourself better and better, feel free to join us!
+++
About the author:
I am Boris Wilke, a German expat in Prague. I am a writer at large and have been studying Meisner since January 2008. If any of you know of any kind of acting work, that befits a laddish, tall 40-year-old, please leave a note!
April 30th, 2009
Hi everyone!
I’m Boris Wilke and member of the Prague Playhouse Meisner acting group. I blog about our class activities.
Last night’s class was all about being truthful to yourself and your partner. This article tells you why listening and being in the moment are instrumental to being truthful and why the truth is such a precious good in – of all things – the make believe world of acting.
Click on the “ACTING CLASS” button above to read more about the class itself and where we meet!
Click the “(more…)”-button to read about last night’s class!
++++++++++++++++++++++++++++++++++
This Monday’s class was taught by Ben Steel, who urged us to place our attention on the truth.
The truth in a Meisner context does not differ at all from the truth in any other context, which is the strangest and most wonderful aspect of the Meisner-technique. For in acting one would not necessarily expect any type of truth. It is make-believe after all.
Focussing on the truth in a Meisner exercise means to really listen to your partner and react to the way he or she is dealing with you.
If, for example, your partner winces from anxiety and jumps back because you yelled at him or her, the truth is, that he or she is scared of you or hurt by you or terrified. It would be rather far from the truth to tell them they are coward or effeminate.
If the person in front of you gives you the feeling they want to make love to you right there and then, the truth is to tell them: “You look like you want to have sex with me!” rather than laughing the emotion off, sneering at your partner or cursing them.
The truth has a name. And it is a simple call of your partner’s behavior.
The easy part is to feel it. The hard part is to deal with it and to acknowledge it without shying away from the uneasiness that is very often attached to the truth or – worse still – to judge it and thus file it away.
Being in the moment is another prerequisite to the truth. If your partner just sneered at you and called you a slut, but you let the moment pass and the person is now smiling at you and saying: “You make me feel warm inside!”, the truth of the moment is that: You make your partner feel warm inside – not the truth of a few seconds ago, when you were called a slut.
So reacting freely and fluidly to anything that your partner does, having them make you do things, having them hit stuff out of you – in the moment and totally shamelessly truthful – is the name of the game and much more easily said than done.
**********************
General stuff:
Our acting class consists of some ten active members, who meet every Monday and Wednesday from 6.30 pm to about 8.30. We do Meisner. And the Meisner-technique really rocks!
If you want to connect with your inmost feelings, expressing them freely in an acting environment and thus getting to know yourself better and better, feel free to join us!
+++
About the author:
I am Boris Wilke, a German expat in Prague. I am a writer at large and have been studying Meisner since January 2008. If any of you know of any kind of acting work, that befits a laddish, tall 40-year-old, please leave a note!
April 28th, 2009
CP Antics is pleased to announce the auditions for Killing Rick
Killing Rick is guerrilla style theater production that uses the streets of Prague as its set and improvisational style of acting to interact with its audience members. The production will run from June 5th to June 27th, every Friday and Saturday night from 8:30pm to 1:30am, with more than one performance each evening. We are looking for cast members who are fluent English speakers. We are offering actors 200kc an hour. Rehearsals will run throughout May.
Auditions will be held at the Prague College, Polska 10, Prague 1 on Sunday, April 26th from 1:00pm to 5:00pm and Wednesday, April 29th from 6:00pm to 9:00pm. To audition, please prepare a two minute
monologue. Please go to jobs.cpantics.com for more information about the available roles and if interested please complete the short application form. If you can not make the casting session and would like to set up a meeting please contact cara@cpantics.com
April 22nd, 2009
Hi everyone!
I’m Boris Wilke, member of the Prague Playhouse Meisner acting group and will blog about our class activities.
Class started into a new quarter yesterday – and as always, quite a few lessons were to be learned:
Stepping into “it” by facing “the beast” instead of shying away from any unpleasant feelings was and will remain one of the main issues. It’s interesting how some students try to resort to sadness and sentimentality to cover up emotions they are not yet ready to express fully, while others yell and get aggressive. Some “play” unaffected and blithe, while others get cynical. We all have our escape mechanisms. But we all are willing to let go of them. That is a great thing! For a good actor is a vulnerable one. And to achieve that, one has to accept weakness, which, paradoxically enough, is a sign of strength.
Another issue, that I saw yet again and will never cease to be fascinated by is the fact,that each one of us needs a unique approach and is thus treated differently by Brian, our teacher:
What might work for one of us is a no-go-zone for another. Student A might be told to refrain from being offensive while student B is encouraged to finally let his anger spill over and “blow his lid”. Student C should focus on being intimate and seek private and subtle moments while student D ought to be brash, broad and loud.
And yes, I did see frustration on more than one face while having to listen to Brians observations. (OK, I didn’t have a mirror… But I could feel myself blush, too.)
There is this old German saying which goes: “Was zutrifft, trifft.” It translates roughly into: If it hurts, it means it hit home. And we want stuff to HIT us, don’t we?! 
A lot of people seem to be involved with projects relating to the Fringe festival these days. Or they are in films or plays.
Congratulations and good luck with everything!
See you next Monday, I hope!
Take care and remember to rehearse!
Boris
**********************
General stuff:
Our acting class consists of some ten active members, who meet every Monday and Wednesday from 6.30 pm to about 8.30. We do Meisner. And the Meisner-technique really rocks!
If you want to connect with your inmost feelings, expressing them freely in an acting environment and thus getting to know yourself better and better, feel free to join us!
+++
About the author:
I am Boris Wilke, a German expat in Prague. I am a writer at large and have been studying Meisner since January 2008. If any of you know of any kind of acting work, that befits a laddish, tall 40-year-old, please leave a note!
April 16th, 2009
Just a reminder to all of you who are coming to acting class that we’re now on spring break until April 15. If you aren’t currently a student but would like to audit the class, you’re more than welcome! Just check out the information on the Meisner acting page and come to the class to see it in action!
March 31st, 2009
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