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theater is a spiritual and social x-ray of its time.
-Stella Adler
Method Acting is no longer an option for young actors... it
is the standard. If you watch the BRAVO! cable program 'Inside
the Actors Studio' you are probably familiar with the
techniques associated with Method Acting and the way professional
actors talk about their craft: a synthesis of mind, body,
emotions and spirit.
The 'Method' originated around 1900 with techniques pioneered
by Russian actor/director Constantine Stanislavsky. It was
subsequently developed in America in the Group
Theater of the 1930's and at the Actors Studio, both under
the direction of Lee
Strasberg, one of the most influential acting teachers
of the 20th century.
It was made famous during the 1950's with the films of Elia
Kazan and the revolutionary acting styles of Marlon Brando,
Shelley Winters, Paul Newman, Eva Maria Saint, James Dean
and of course, Marilyn Monroe. The 'Method' later became associated
with the work of Robert DeNiro, Harvey Keitel, Al Pacino,
Dustin Hoffman, Steve McQueen, Sally Field, Estelle Parsons,
Faye Dunaway, Jane Fonda and Ellen Burstyn. Over 200 Academy
award winners and nominees have been members of the Actors
Studio under the direction of Lee Strasberg. Sanford Meisner,
Harold Clurman and the incredible Stella Adler are also closely
associated with the work of Stanislavsky and were members
of the Group
Theater.
The 'Method' is an excellent way to learn about acting, however
we believe there is no paint-by-numbers approach to becoming
a performing artist. Uta Hagen, Sanford Meisner, Stella Adler,
Eleanora Duse and Peter
Brook are also strong influences at ACSF.
Read
Shelley's essay 'Demystifying the Method'.
Listen to Dustin
Hoffman or Jane Fonda on NPR.
ACSF is a small, non commercial acting studio where students
can apprentice with Shelley Mitchell. She trains actors to
work at the highest A-list levels established in the industry
with professional NYC/LA and London standards. Many of our
students come here after they've
completed graduate and conservatory programs both in the USA
and Europe. Why? Because they say that no one ever showed
them how to dig psychologically or physically.
"You can learn more in one of
Shelley's classes about improving yourself as an actor than
you can in a year with ACT or Berkeley classes. There is a
level of honesty and trust in her class which literally takes
your breath away. Combine this with Shelley's extremely accomplished,
astute and always constructive skill as an acting teacher
and you get, in my opinion, the best acting class in the Bay
Area." (click here for more
student quotes)
Shelley Mitchell is one of the strongest voices teaching ‘Method acting” in the world today. She trained directly with Lee Strasberg in his private classes and at the Actors Studio. According to Harvey Keitel, she was Strasberg’s favorite student. Sean Penn says “She’s the real deal!”
As an actress, Shelley Mitchell is best known for her one woman performance of the Hungarian WWII classic- Talking with Angels: the true story of Gitta Mallasz. A February 2008 review from the Los Angeles Weekly called her performance “…a portrayal with such leisurely, lifelike timing,...Mitchell transforms into something between a dancer and a shaman. ..Its excruciating beauty derives from its simplicity and purity.” Irish Theater Magazine says of her 2006 performance: “Mitchell switches seamlessly between the aged Mallasz and the grace of the seraphs, her consummate skill as a performer illuminates this thoughtful combination of human bravery and the divine.”
Mitchell’s acting technique is directly based on classic Method principles: the power of truth, the power of the present moment and the power of the human spirit. She believes that talent does not like to be caged, so there are no rules or schematic approach to Mitchell’s teaching. She works individually with each actor to help them get where they want to go. She encourages young actors to formulate a clear vision of what they want to say as artists in our rapidly changing world.
Mitchell is well known for her work with non-actors as well; using Method acting techniques to help writers and directors understand what actors are experiencing and to help non-actors become more emotionally expressive.
Read
Shelley's essay 'Demystifying the Method'.
Each 3 hour class is divided into two parts. The first part
focuses on individual development of concentration, relaxation
and emotional response to imaginary situations. The technique
used to facilitate this is called the Sense Memory Exercise.
These exercises are the basic building blocks for an actor
as well as being a practical tool for use in performance.
The second part of the class focuses on scene work with a
partner and script.
The 8 week course is designed to introduce basic techniques.
Those who wish may continue with the class on a monthly basis.
Check the Schedule page for details.
Min Lee-
concert violinist
Karen
Leland- public speaker, consultant
Jason
Foster- actor, inventor
David
Noles- photographer, actor
Zack
Buell-BLUE MAN, drummer
Rex
Ishibashi-general manager, writer, director
Corinne
Blum- ballet dancer, choreographer, actress
Goetz
Weber- CEO
Eamonn
Walker- actor, LORD OF WAR, Oz, JUSTICE
Dorka
Keehn- radio host, political advisor
Will
Csaklos- Pixar story consultant, writer
Georg
Koeniger-actor, comic, engineer
national and international
If you are interested in bringing Shelley Mitchell to teach
at your University or theater group please email
or call 415 861 4965 and ask for details.
please prepare the exercise below if you have enrolled in
the class
Sense memory is re-living sensations that were experienced
through the five senses. Strasberg stressed the term re-living,
not just remembering, explaining that the difference lies
between knowing something and truly recreating it. That difference,
between mental activity - remembering- and reliving the experience,
Strasberg explained, was not made up by Stanislavski or his
modern interpreters but is substantiated by psychology. Please
prepare the following exercise for your first class.
Remember, you are not doing this exercise in order to learn
to stage physical actions or mime! The things you do in practicing
this exercise you may never do when playing a role. The purpose
of this exercise is to experience and fix in memory the reliving
of all the sensory aspects of the breakfast drink. Choose
what you habitually drink in the morning (e.g. a cold fruit
juice or a hot drink like tea or coffee). Take the cup or
glass in both hands and concentrate on your five senses- one
at a time. Feel the texture, weight and balance of the container
and the heat, steam or cold. Smell the aroma. See the color,
size , shape, groves and nicks of the container and the liquid.
Hear the shloshing of the liquid, preferably several times.
While you are concentrating on the taste, also be aware of
the touch of the container against your lips and tongue, the
temperature of the liquid, the texture of the liquid and container
and all other sensory aspects. This whole procedure should
be done slowly watery investigation and exploration of all
sensations. Now set the container down, turn away and repeat
the entire procedure without the breakfast drink.
If you find that you are not able to recreate some of the
sensations experienced with the actual cup or glass in your
hand, go back to the physical object itself and explore it
again. Concentrate on weak sensory aspects as you work with
the container (for example, if you cannot relive the odor,
return to the drink and focus on the odor in particular).
By thus alternating between the actual drink and imaginarily
re-experiencing the drink, weak sensory aspects may be strengthened
and the experience relived. The exercise is now ready to bring
into class, without the real object.Subsequent exercises will
be prescribed at the end of each session. The observation
procedure outlined above is highly suggested for all the Sense
Memory exercises that will follow.
(quoted from Strasberg's Method by Laurie Hull)
In acting, you are the instrument; body, mind and spirit.
The second half of the class is focused on relationships with
other actors and the audience. The goal is to consciously
remove barriers to make us more sensitive to our own intuitive
powers. Barriers or 'blocks' as they are commonly called by
many actors, inhibit communication and emotional expression.
Freedom from convention lets a number of things happen...
namely authentic & spontaneous behavior that the audience
will buy into. It also allows insights and impulses from deep
within our sub-conscious to come forth and answer questions
we didn't even know we had!
In order to prepare for this part of the course it is essential
that you choose a five minute scene between two characters
or a monologue that personally means a great deal
to you. The scene can come from a play, film
or novel but the most important point is that the message
and circumstances of the scene are based on things you already
know a great deal about from your own life experience. You
must love the message in the scene. Also, you should be physically
believable as the character (i.e. no young women playing Hamlet,
no young men playing St. Joan etc...).
You will need to choose someone in the class to act the other
character for you, and get together for one or two rehearsals
before you bring the scene into class. You don't have to memorize
the scene. In fact, if you are new to acting and don't know
how to rehearse just bring the scene in and we will have the
first rehearsal together in class. Experienced actors are
expected to memorize. The purpose of this part of the course
is to train the actor's mind to look at the raw emotional
material that comes up while interacting with other people
... and to make creative choices that best illuminate the
scene.
Germany, Iceland, France, Ecuador, Native American, Sweden,
Canada, Australia, South Africa, Malaysia, Taiwan, Philippines,
Mexico, Spain, Liberia, Brazil, Israel, New Zealand, Mexico,
England, Russia, Croatia, Norway, Romania, Korea, Japan, Italy,
Ireland, Finland, India, Hungary, Holland, Argentina.
We have a growing circle of students who've gone to NYC and
LA. In the last two years 95% of our students have gotten
into the graduate or trade schools of their choice, including
the Royal Academy of Dramatic Art, London, the Actors Studio
Master's program, UCLA, NYU, Circle in the Square and the
Neighborhood Playhouse. An equal percentage of students who
are first time actors have been cast in local(San Francisco)
independent films after less than a year of working at ACSF.
Others have gone to Europe with a focus in both theater and
film.
Read
Shelley's essay 'Demystifying the Method'.
Rita Moreno & Shelley Mitchell photo by
Paul Felder
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