NEW YORK STUDIO
SUMMER WEEK
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.
Developing your voice and speech is essential to your growth as an actor.
VOCAL FLOOR EXERCISES to be performed daily, am & pm.
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.
READ OUT LOUD daily for 20 minutes.
Practice yoga.
The 3 basic TENETS OF ACTING are:
RELAXATION – CONCENTRATION – IMAGINATION
The 4 VARIABLES OF VOICE & SPEECH are:
RATE – INFLECTION – PITCH - DYNAMICS
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 limited to two minutes in length and scenes must run no longer than four minutes. If your text requires a complex physical set up, be sure to recruit class members when you arrive for your "load in" and "strike”. Dress for your script, as you must be ready to work within two minutes of your name being called.
Scene Partners and Monologues: Upon enrollment, you will be assigned a partner with whom you will select and rehearse a 3-4 minute scene for the intensive. Note, your partner assignment time will vary depending on enrollment, so in the meantime, please read over your welcome package thoroughly and select a monologue from the suggested list in this email to prepare as backup material to your scene.
When choosing material: You may select from the Suggested Scenes and Monologues Lists within your Welcome Package email. You may also choose a piece by one of the 250+ authors listed within this Syllabus. Please send your selected piece to Emily at emoulton@TomTodoroff.com (or via text 310-980-4504) for review and approval before you begin rehearsing!
In addition to your primary piece (scene or monologue) please prepare a 1-2 minute “back up” monologue. Ideally you learn this second piece off-book, but if you need to bring the script and read it, that’s fine! Please note, you will not necessarily work on this back up material, but it’s best to be prepared.
Always bring a printed (non-digital) copy of your script with you to the Intensive.
Please note: The point of the Intensive is to learn to act, not to get through your scene, monologue, or audition piece. 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.
Stay in the theatre for all of our time together. The lobby and parking lot are not where your growth lies. If invited to comment on someone's work, please be sure that your remarks are brief and limited to positive (non-directorial) observations. Your words must be an addition to what's just been said, not a reiteration. As this is your artistic home, pick up after yourself when the day is done.
Give up addictions. Avoid anesthetizing your sensitivity and intuition (talent).
Take notes. Have someone take notes for you during critique of your work. Learn 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. Come prepared with materials for taking notes.
Photos and footage may be taken during the course of the Intensive. 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 recommended reading lists below. You are REQUIRED to read the first three books (Audition, The Four Agreements, and The Mastery of Love) prior to the intensive.
2. REQUIRED READING LIST (in order):
- AUDITION by Michael Shurtleff – it’s good to know the 15 Guideposts numerically – refer the Guideposts / Reminder Sheet within your Welcome package email.
- THE FOUR AGREEMENTS by Don Miguel Ruiz
- THE MASTERY OF LOVE by Don Miguel Ruiz
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
Attendance for the entire Intensive is mandatory. The only excusable absence for any part of the training is that you are gainfully employed in or auditioning for theatre, film, or television. If you must arrive late or leave early, please let one of the producers know before the Intensive begins.
7. SCHEDULE
Please check your email regularly for communication from the Studio and from your scene partner IF you have one. If you are not hearing from your partner, it is your responsibility to notify the Studio immediately.
Please check your email regularly for bulletins and updates about the summer Intensive.
A detailed schedule for the week will be emailed to you separately closer to the program start date.
We strongly recommend that you bring along snacks, and especially water. There will be short breaks through out each day in addition to a lengthier lunch break.
8. SMOKING
Smoking is not allowed anywhere on the premise.
9. VISITING
In the interest of maintaining our safe space, we ask that you do not bring any friends or visitors to “watch” class. Only enrolled members of the summer intensive may attend classes.
10. QUESTIONS?
Raise your hand. The only “dumb” question is the one that remains unasked.
See APPENDIX C for contact information. The Studio producers are 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 joining him on Facebook or sending an email to our administrative offices in NYC at nycstudio@tomtodoroff.com.
11. UNDERSTAND AND COMMIT TO MEMORY:
- 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 Voice & Speech exercises described within this Syllabus daily, from the day you enroll in the Intensive.
- Create flash cards to help you learn the fundamentals above. These terms and concepts are described in the three recommended reading books.
- Learn your text (Best to be off-book and performance ready)
- Dress for your role (no general street clothes)
- And be prepared to create “place” SPECIFICALLY with furniture and props.
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. I'm 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
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
TURGENEY, 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
02/02/2018
Note: New or original texts (or works by writers that do not appear above) are acceptable and encouraged, providing a copy of the text is submitted to Emily at emoulton@TomTodoroff.com (or via text 310-980-4504) 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
NYC Studio Weekly Class
NYC One-Week Summer Intensive
NYC Two-Year Conservatory
REGIONAL STUDIOS
To learn more about our acting intensives worldwide, contact us at Intensive@TomTodoroff.com or go to tomtodoroff.com and join the mailing list of the city nearest you!
Check out TomTodoroff.com/Events to see where Tom is teaching next!