Tuesday, February 3, 2009

HOLAfábrica presents STRASBERG TECHNIQUE workshop

Want to know what the Lee Strasberg Theater and Film Institute technique is all about?

Did you know that HOLA member Mauricio Bustamante has been a teacher at the Lee Strasberg Theater and Film Institute of their technique for many years?

HOLAfábrica presents

Strasberg Technique Workshop
with Mauricio Bustamante

An eight-session workshop of 3 hours each (24 hours total)

February 26, March 5, 12, 19, 26, April 2, 9 & 16, 2009
7pm to 10pm

$240 (HOLA Membership required)

CSV Cultural and Educational Center
Room 203
107 Suffolk Street, 2nd Floor, NYC
(F to Delancey / J M Z to Essex)


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Lee Strasberg set out to work on the problems of the actor as an instrument with the ability to behave truthfully and believably in the imaginary circumstances provided by the author. Through decades of work with the finest talent in the the theater and film of the 20th Century, and having closely studied and worked with the teachings of Stanislavsky, Lee was able to systematically develop technical tools for the actor to practice for the development of a craft that could most effectively enable the actor in achieving greatness in performance. As a result of which, nobody in the world of theater has made as significant a contribution as Lee in bringing to the limelight a consistent flow of actors, who have given us exciting and praiseworthy performances in every medium.

Mauricio Bustamante met Lee Strasberg in 1973 when he was performing professionally in productions under the auspices of Actors’ Equity Association, at a time when he was on stage more nights than off during each year throughout the United States. When he met Lee and attended his classes in 1973, he decided that he had to stop everything to begin to study with him. Bustamante enrolled in a full time program in 1975, and continues taking classes at the Institute to this day. His continued fascination with Strasberg's work is ongoing, and it is his life's work. In 1995, Anna Strasberg invited him to teach at the Lee Strasberg Theater and Film Institute. He loves his work as a teacher as much as he loves his work as an actor.

Each weekly class will be divided into two sections: First hour and a half will be dedicated to the Strasberg relaxation and sensory work, during which each student will explore the specific exercise assigned for daily practice away from the class. The actor will come to class with a prepared sensory exercise assigned by the teacher. This demands half hour of relaxation and half hour of sensory exploration at home every day.

The second half of the class will be dedicated to scene and monologue work. Each actor will have at least one scene partner with whom every effort needs to be made to rehearse the scene as many times as possible during the week; and we'll also assign a monologue (an event in which the actor is alone on stage), to each actor. The suggestion is that each actor in the class will have at least one scene and one monologue with which to work.

The scenes and monologues will be critiqued to help the actor reach a further understanding of the pursuit of an objective, clarity of interpretation of the relationships, who am I, where am I, and what am I doing; as well as the application of the sensory work in the scenes.

Most probably, each actor will have a more solid version of an audition monologue, and most importantly, he or she will continue to realize further possibilities in his daily work as an actor. Ideally, we will be able to continue the classes after the first six weeks, to provide our members with an opportunity to continue pursuing the ideals of bettering our craft.

This is a serious class for members who are able to make the commitment to an ensemble of dedicated professionals. A short break will take place between the sensory work and scene part of class, for the purposes of using the restroom or eating a light snack. It does not include a dinner break.

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