THE WORKSHOP - ONLINE WEEKLY CLASS
PHILOSOPHY AND PROTOCOL
Welcome! The adventure begins…
1. THE WORK - "DISCIPLINE AND WILLINGNESS"
Our code of conduct is based on four deceptively simple yet powerful agreements, as per “The Four Agreements” by Don Miguel Ruiz, they are:
- Be impeccable with your word
- Don’t take anything personally
- Don’t make assumptions
- Always do your best
This philosophy promotes joy and freedom and avoids needless suffering. This syllabus is updated often. Refer to it continually and learn the contents herein.
Developing your voice and speech is essential to your growth as an actor. Vocal floor exercises are performed daily, (in the AM and PM) and will be reviewed when we first meet and continually in our work together:
Fifteen minutes on your back with your hands on the lowest part of your abdomen, your shoulders are free, your neck is relaxed, moving back and up:
a) Release a voiceless hissing sound, as in the consonant "S" for 5 minutes.
b) Release a voiced humming sound, as in the consonant "M" for 5 minutes.
c) Release a voiced sighing sound, as in the vowel "AH" for 5 minutes and allow your free voice to reach the ceiling.
Practice yoga.
The 3 basic TENETS OF ACTING are:
RELAXATION – CONCENTRATION – IMAGINATION
The 4 VARIABLES OF VOICE & SPEECH are:
RATE – INFLECTION – PITCH - DYNAMICS (RIPD!)
The 15 GUIDEPOSTS (12 Original Guideposts can be found in Michael Shurtleff’s “Audition”, plus the final three Guideposts, created by Tom Todoroff and sanctioned by Shurtleff)
- RELATIONSHIP
- CONFLICT (What am I fighting for? How am I meddling?)
- THE MOMENT BEFORE
- HUMOR
- OPPOSITES
- DISCOVERIES
- COMMUNICATION & COMPETITION
- IMPORTANCE
- FIND THE EVENTS
- PLACE
- ROLE PLAYING & GAME PLAYING
- MYSTERY & SECRET
- MISCHIEF
- VULNERABILITY (Am I revealing? Or am I concealing?)
- ARCHITECTURE
The 6 VIEWPOINTS (the perceptual landscape of the audience and the inner field of focus of the performer)
TIME – SPACE – SHAPE – MOVEMENT – STORY – EMOTION
Monologues are strictly limited to two minutes in length and scenes must run no longer than four minutes.
Performers may choose a piece by one of over 250 authors in the list below. This list took years to compile and it’s divided into eras for your convenience. Working on writing by any of these authors will ensure your growth. “If it ain’t on the page, it ain’t on the stage”!
First Time Performers (those who have not yet been coached by Tom): Please prepare a monologue from the recommended list under Reading and Resources on your dashboard for the first time you work with Tom - or let us know you'd to be cast in an Audition Exercise. Just make sure you’ve completed the BASIC PERFORMER REQUIREMENTS (click to review) first!
Returning Performers (those who have previously been coached by Tom): You are welcome to work on a scene, monologue or volunteer for the Audition Exercise. Find a scene partner by getting to know our classmates or email workshop@tomtodoroff.com for help finding a scene partner. All attendees in the Workshop are available to work on scenes. Make friends and get to work! Plan on always having several monologues and scenes in constant development with different partners at all times!
When choosing material, please refer to the list of Recommended Monologues and Scenes on your membership dashboard when you first join. After you’ve performed the first time in class, feel free to explore all the authors on this Syllabus, Additional Sources for monologues and scenes under Reading and Resources on your dashboard - or any other pieces you'd like to bring! If you need guidance – ask! We’re happy to help!
Please note: The point of the class is to learn to act, not to get through your scene or monologue. So please know that if Tom stops you before you’ve reached the end of your performance it’s because he’s more interested in ensuring you know how to work specifically, truthfully and with relaxation from moment to moment under the given imaginary circumstances.
Audition Exercise: We often begin class with this exercise to give everyone in the class a chance to learn about how to apply this technique to Film or TV audition sides representative of what's being cast right now. The TT Team will reach out to a few members of the Workshop every week to ask if they'd like to be included in the exercise that upcoming class. Once actors are cast, the 'audition sides' are emailed on Friday afternoon and the actors who've been cast are expected to prepare just as they would for a real audition. This means, being as off-book as possible - but still plan on holding the audition sides. The auditioning actors have 15 minutes at the start of class to practice with their scene-partner before performing the audition for the class. Tom will then work through the sides with both pairs of actors and coach them towards the strongest possible way to play the scene. By way of demonstration, all students in the class learn how to break down an audition script using our technique. The exercise also gives all actors insight into the audition process and a chance to see what different sets of actors do with the exact same material.
Signing up to work in class:
Sign up on Thursday if you'd like to work in class on Saturday!
Sign up on Friday if you'd like to work in class on Monday!
Sign up on Saturday if you'd like to work in class on Tuesday!
If you’d like to work in class, please use The Performer Request Form on your membership dashboard to sign up. This link can also always be found on the right side of your membership dashboard - you'll see an image of a film clapperboard with the title "Performer Request Form".
Take notes. Have someone take notes for you during critique of your work. Come prepared with materials for taking notes.
We recommend learning the prologue to "Romeo and Juliet" and eventually, the five prologues to "Henry V". These are not required for you to have prepared when you first begin with us, but something to work on independently to further your growth.
Give up addictions. Avoid anesthetizing your sensitivity and intuition (talent).
Photos and footage may be taken by the TT Team during the course of the class. Please let us know if you prefer not to be photographed. It’s understood you’re fine with this unless we hear from you.
There are several reading lists below – only one is required. The required reading must be done before your first day of class. The lists of recommended playwrights (Appendix A) and recommended reading (Appendix B) are a gift to you. This information took years to compile and it’s divided into eras for your convenience.
2. REQUIRED READING LIST (in order):
§ AUDITION by Michael Shurtleff - know the 15 Guideposts numerically – refer to attached list
§ THE FOUR AGREEMENTS by Don Miguel Ruiz
§ THE MASTERY OF LOVE by Don Miguel Ruiz - not required but highly recommended!
3. YOUNG ACTORS: (ages 11-17)
Take a look at “Monologues for Young Actors” as well as “Scenes for Young Actors”, both are written by Lorraine Cohen.
4. RECOMMENDED PLAYWRIGHTS
(See APPENDIX A)
5. RECOMMENDED READING LIST
(See APPENDIX B)
6. ATTENDANCE & RECORDINGS
Attend as often as you can for as much of The Workshop as you possibly can! That said - if you need to miss a class, you still have the ability to catch up on what you missed by logging into your Membership Dashboard and viewing the recordings from the most recent class anytime you wish! You'll see an email weekly that notifies you when these new videos are uploaded and available for viewing. All recordings from the most recent class are uploaded within one week.
A Newsletter (titled "Major Tom to Ground Control") is sent weekly as well. This provides and overview of who worked on what pieces in that last class.
Recordings are available for viewing for the duration of your enrollment in the membership - they don't expire! Videos can only be viewed by enrolled members and cannot be downloaded or shared from the secure platform. Remember you can always use the 'Search' function at the top of your dashboard to search for specific names, titles or topics! If you ever prefer a recording of your work not be made available on the dashboard, simply let us know by emailing workshop@tomtodoroff.com and we'll be happy to oblige!
When you sign up to work in class - you're expected to be present at least from 12pm - 4pm EST so you're present when called upon. If you sign up to work in class and then discover you have a conflict, even for a portion of the class - it's important to notify the studio and we'll move your sign up to the following week.
7. SCHEDULE
The Workshop is held from 11:00am - 4:00pm Eastern Time every Saturday, 10:00am - 3:00pm every Monday and Tuesday. When you enroll, choose the day that you'll typically be attending the live class. If you're schedule changes, however, you're welcome to attend one of the other two days instead.
The zoom link is always emailed out the day before. If you'd like to sign on a little early to test your audio / video equipment or just to check in and chat with other class members before we get started - you're welcome to!
If you're attending a day that's not your usual class day - you will need to log into your dashboard and click on the button that says "Zoom Links" to get the link to join class!
8. VISITING A CLASS
If you have a friend who is interested in learning more about The Workshop and would like to visit a class - please let us know ahead of time! It's important that all guests receive a brief orientation phone call before they attend class the first time. Please tell your friend to go to www.tomtodoroff.com and book a call - or connect them directly with Emily (emoulton@tomtodoroff.com / 310-980-4504). Thanks!
11. QUESTIONS?
Raise your hand. The only “dumb” question is the one that remains unasked.
See APPENDIX C for contact information. The TT Team is happy to help you with any questions or concerns that may arise. Please do not hesitate to approach them.
Please keep Tom apprised of your breakthroughs, concerns, triumphs, etc. by emailing him directly at: tomtodoroff@mac.com.
YOU MUST KNOW:
■ The 15 Guideposts
■ The 6 Viewpoints
■ The 4 Variables of Voice and Speech
■ The 4 Agreements
■ The 3 basic Tenets and the 3 Techniques before you take the stage
PRIOR TO YOUR PERFORMANCE:
■ Work on your voice and speech for 14 consecutive days for at least 15 mins a day
■ Review your technique flashcards and used them to learn the fundamentals above
■ Be fully off book with your text (unless it's an audition or cold-read audition exercise)
■ Make specific choices on your lighting, wardrobe, background - they all speak before you do.
To “try” is a lie, it makes you cry and then you die!
If you “try” to do it, you’ve already departed from it…
Thank you for your passion, your commitment and your contribution. We’re glad you're here! You are not alone on your journey to your true self. Your authentic self is also searching for you. Burn bright. Revel in your time. The adventure continues…
Love to you,
TOM TODOROFF & the TT Team
APPENDIX A - RECOMMENDED PLAYWRIGHTS
THE GREEKS (463 BC- 400 BC) “Poets of the world’s grief”
AESCHYLUS
Agamemnon, Oresteia
EURIPIDES
Medea, Electra, Trojan Women
SOPHOCLES
Oedipus, Antigone
17th CENTURY: RESTORATION AND JACOBEAN TRAGEDY
CONGREVE, William
The Mourning Bride
FORD, John
Tis Pity She’s a Whore
JONSON, Ben
MARLOWE, Christopher Tamburlaine
MIDDLETON, Thomas & ROWLEY, William
The Changeling
MOLIÈRE (aka Jean-Baptiste Poquelin)
PYLE, Howard
SHAKESPEARE, William
Romeo and Juliet, Othello, etc.
SHERIDAN, Richard Brinsley
The School For Scandal
TOURNEUR, Cyril
The Revenger’s Tragedy
WEBSTER, John
The White Devil, The Duchess of Malfi
WYCHERLEY, William
The Country Wife
19th CENTURY: VICTORIAN ERA AND THE BIRTH OF REALISM
SCANDINAVIA
IBSEN, Henrik
A Doll’s House, Hedda Gabler
STRINDBERG, Johan August
Miss Julie
GREAT BRITAIN
COWARD, Noel
Private Lives, Design for Living
DICKENS, Charles
The Frozen Deep, Great Expectations
SYNGE, John Millington
The Playboy of the Western World
WILDE, Oscar
The Importance of Being Earnest
An Ideal Husband
RUSSIA
BULGAKOV, Mikhail
Peace Plays: Adam and Eve, Zoya’s Apartment
CHEKHOV
The Seagull, The Cherry Orchard
DOSTOYEVSKY, Fyodor
Crime and Punishment
GOGOL, Nikolai
The Inspector General
GORKY, Maxim
The Lower Depths
OSTROVSKY, Aleksandr
The Tempest, The Poor Bride
TOLSTOY, Leo
War and Peace
TURGENEV, Ivan
A Month in the Country
FRANCE
DUMAS fils, Alexandre
Camille, The Natural Son
SARDOU, Victorien
Fedora, Les Merveilleuses
SCRIBE, Eugene
Night of the National Guard
GERMANY/AUSTRIA
GOETHE, Johann Wolfgang Von – Faust I
MOLNAR, Ferenc
The Devil
Liliom-became the musical Carousel
SCHILLER, Friedrich
Mary Stuart, William Tell
SCHNITZLER, Arthur, The Comedy of Seduction
Professor Bernhardi
WEDEKIND, Frank
The Awakening of Spring, Pandora’s Box
Note: Example plays are included to intrigue and inform you of a playwright’s more famous work. It is not in any way a restriction, but rather a starting point to investigate their texts and discover what speaks to you.
20TH CENTURY – PRESENT: A NEW WORLD (C=Canadian authors)
ACKERMAN, Joan
ALBEE, Edward
ALLEN, Woody
ANDERSON, Sherwood
ANDERSON, Jane
ANOUILH, Jean
ANTHONY, Trey (C)
ATHAYDE, Roberto
AUBURN, David
AYCKBOURN, Alan
BABE, Thomas
BAITZ, John Robin
BALDWIN, James
BARRY, Philip
BECKETT, Samuel
BEHAN, Brendan
BELBER, Stephen
BELL, Neal
BERKHOFF, Steven
BERMAN, Brooke
BISHOP, John
BLANK, Jessica
BLESSING, Lee
BOGOSIAN, Eric
BOLOGNA, Joseph
BOLT, Robert
BOLTON, Guy
BOND, Christopher
BOYCE, Amy Rebecca
BRECHT, Bertolt
BULLINS, Ed
CHAMBERS, Jane
CHAYEFSKY, Paddy
CHURCHILL, Caryl
CLARK, Brian
CLARK, Ron
CRISTOFER, Michael
DELANEY, Shelagh
DENKER, Henry
DORFMAN, Ariel
DURANG, Christopher
DÜRRENMATT, Friedrich
EDSON, Margaret
ENSLER, Eve
FEIFFER, Jules
FEYDEAU, Georges
FINDLEY, Timothy (C)
FOOTE, Horton
FORNES, Maria Irene
FOSTER, Norm (C)
FRASER, Brad (C)
FRAYNE, Michael
FRENCH, David (C)
FRIEL, Brian
FRINGS, Ketti
FRY, Christopher
FUGARD, Athol
FULLER, Charles
GAFFNEY, Mo
GARCIA LORCA, Federico
GARDNER, Herb
GARONZIK, Elan
GAZZO, Michael
GENET, Jean
GERSCHE, Leonard
GIBSON, William
GILBERT, Sky (C)
GILMAN, Rebecca
GILROY, Frank D.
GIRAUDOUX, Hippolyte Jean
GLASS, Joanna M.
GLASSCO, Bill (C)
GLOWACKI, Janusz
GOLDMAN, James
GOLUBOFF, Bryan
GORDONE, Charles
GRAY, John (C)
GRAY, Simon
GRAY, Spalding
GREENBERG, Richard
GREENBLATT, Richard(C)
GRIFFITHS, Linda (C)
GRIFFITHS, Trevor
GUARE, John
GURNEY, A.R. Jr.
HAILEY, Oliver
HAMPTON, Christopher
HANLEY, William
HANSBERRY, Lorraine
HARE, David
HARELIK, Mark
HARLING, Robert
HARRISON, Paul Carter
HART, Moss
HARWOOD, Ronald
HAUPTMAN, William
HAVEL, Vaclav
HAYES, Alfred
HEALEY, Michael (C)
HECHT, Ben
HEGGEN, Thomas
HEIMEL, Cynthia
HELLMAN, Lillian Florence
HENLEY, Beth
HIGHWAY, Thompson (C)
HIRSON, David
HOROVITZ, Israel
HOWARD, Sydney Coe
HOWE, Tina
HWANG, David Henry
INGE, William
IONESCO, Eugene
IVES, David
IZUKA, Naomi
JONES, LeRoi
JORY, Jon
KANIN, Garson
KAUFMAN, George
KAVA, Caroline
KEMPINSKI, Tom
KESSIER, Lyle
KIRKWOOD, James
KONDOLEON, Harry
KOPIT, Arthur
KORDER, Howard
KUSHNER, Tony
LABUTE, Neil
LAURO, Shirley
LAZARUS, John (C)
LEE, Leslie
LEIGHT, Warren
LETTS, Tracy
LEVITT, Saul
LI, Anna
LINNEY, Romulus
LOGAN, Joshua
LONERGAN, Kenneth
LUCAS, Craig
LUCE, Claire B.
MACARTHUR, Charles
MACDONALD, Anne Marie (C)
MACIVOR, Daniel (C)
MACLEOD, Joan (C)
MANN, Emily
MARBER, Patrick
MARGULIES, Donald
MARTIN, Jane
MARTIN, Steve
MASTROSIMONE, William
MAURETTE, Marcelle
MAY, Elaine
MCDONAGH, Martin
MCGUINNESS, Frank
MCINTYRE, Dennis
MCKAY, Gardner
MCLAUGHLIN, Ellen
MCNALLY, Terrence
MEAD, Julian
MEDOFF, Mark
MELFI, Leonard
METCALFE, Steve
MEYERS, Patrick
MICHAELS, Sidney
MILLER, Allan
MILLER, Arthur
MILLER, Jason
MILLER, J.P.
MOORE, Edward J.
MURELL, John (C)
MURRAY-SMITH, Joanna
NAJIMY, Kathy
NASH, Richard
NELSON, Richard
NICHOLS, Peter
NIGRO, Don
NOONAN, John Ford
NORMAN, Marsha
O’CASEY, Sean
O’NEILL, Eugene
OATES, Joyce Carol
ODETS, Clifford
ORTON, Joe
OSBORNE, John
OVERMYER, Eric
PARKER, Dorothy
PARKS, Suzan-Lori
PARNELL, Peter
PETERSON, Don
PETERSON, Eric (C)
PINTER, Harold
PIRANDELLO, Luigi
POLLOCK, Sharon (C)
RABE, David
RATTIGAN, Terence Mervyn
RAVENHILL, Mark
REDDIN, Keith
RENATTA, Janice
REYNOLDS, Jonathan
REZA, Yasmina
RICE, Elmer
RIVERA, Jose
RUDNICK, Paul
RUSSEL, Willy
RYGA, George (C)
SANDLER, Susan
SANTEIRO, Luis
SAROYAN, William
SARTRE, Jean-Paul
SCHISGAL, Murray
SCHMITT, Eric-Emmanuel
SEARS, Djanet (C)
SHAFFER, Peter
*SHANLEY, John Patrick
SHAW, George Bernard
SHEPARD, Sam
SHERMAN, James
SHERMAN, Jason (C)
SHERMAN, Martin
SHINN, Christopher
SHUE, Larry
SILVER, Nicky
SIMON, Neil
SLADE, Bernard
STEIN, Joseph
STEINBECK, John
STERNER, Jerry
STOPPARD, Tom
SWEET, Jeffrey
TALLY, Ted
TAYLOR, Renee
TEICHMANN, Howard
TESICH, Steve
THOMPSON, Ernest
THOMPSON, Judith (C)
TREMBLAY, Michel (C)
VAN BUREK, John (C)
VAN DRUTEN, John
VAN ITALIE, Jean-Claude
VAUGHN, RM (C)
VOGEL, Paula
WADE, Kevin
WALKER, George F. (C)
WALLACE, Naomi
WARD, Douglas Turner
WASSERSTEIN, Wendy
WELLER, Michael
WELLMAN, Mac
WHITE, Jane
WHITEMORE, Hugh
WILDER, Thornton
WILLIAMS, Tennessee
WILSON, August
WILSON, Lanford
WOLFE, George C.
WOLFF, Ruth
YOUNG, David (C)
ZINDEL, Paul
ZOLA, Emile
* Not DOUBT by John Patrick Shanley
09/2022
Note: New or original texts (or works by writers that do not appear above) are acceptable and encouraged, providing you submit the material to Tom for review before you begin working on it. Work on scenes and monologues
that are derived from entire play scripts or screenplays (as opposed to anonymous speeches from monologue books).
APPENDIX B - RECOMMENDED READING LIST
1. Anne BOGART & Tina LANDAU The Viewpoints Book
2. Cicely BERRY Voice and the Actor & The Actor and the Text
3. Peter BISKIND Easy Riders, Raging Bulls
4. Richard BOLESLAVSKY The First Six Lessons
5. Bernie BRILLSTEIN Where Did I Go Right?
6. Linda BUZZELL How to Make it in Hollywood
7. Simon CALLOW Being an Actor
8. Deepak CHOPRA The Seven Spiritual Laws Of Success
9. Robert EVANS The Kid Stays in the Picture (audio version)
10. William GOLDMAN Adventures In The Screen Trade
11. Uta HAGEN Respect for Acting
12. Judy KEFF Acting Is Everything
13. Larry LANGE The Beatles Way
14. Kristin LINKLATER Freeing the Natural Voice
15. Art LINSON A Pound of Flesh, What Just Happened?
16. David MAMET True and False
17. C.T. ONIONS A Shakespeare Glossary
18. Barbara & Alan PEASE Why Men Don't Listen And Women Can't Read Maps
19. M. Scott PECK The Road Less Traveled
20. Anthony SHER The Year of the King
21. Edith SKINNER Speak With Distinction (know the Seven Points of Good Speech for Classic Plays)
22. Eckhart TOLLE The Power of Now (audio version)
APPENDIX C - CONTACT INFORMATION
NEW YORK STUDIO & CONSERVATORY
212-362-8141
The Summer Intensive (in NYC and online)
The Conservatory (in NYC and online)
The Saturday Workshop (online weekly)
FOLLOW US!
Instagram: @tomtodoroff
Twitter: @tomtodoroff
Facebook: Tom Todoroff Acting Studio & Conservatory