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Master Classes are designed for advanced students of acting or professional actors with a committed desire to grow in the understanding of their own work. Workshops are also available, and are intended to introduce the student of acting to Mr. Bentley-Fisher’s concepts. The material is adapted to meet the level of experience of the student.
Master Classes are usually four full days in duration with a limited enrollment of eight. Workshops can be designed four hour sessions or more, can be ongoing, and are limited to enrollment of twelve.
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To challenge and excite participants about how the inner life affects the quality of their work.
To examine the physical qualities of WEIGHT SPACE TIME and FLOW in their relation to movement.
It is essential to develop the reservoirs and inner resources of the individual actor in order to create a fuller, richer and more complex character. As well as living truthfully within the imaginary circumstances it is also essential to develop a familiarity and understanding of those centers within ourselves we don’t normally use in ordinary life, and to do so without judgment. We need to wake up all our inner resources, to experience the world in ways we never knew possible.
Mr. Bentley-Fisher’s approach to the work makes the assumption that everything is movement, and that much of the actors’ development is finding the means to untie the knots that impede that movement. Thought is movement – emotion – our intuitions and sensuality is movement. The energy between our self and our partner is movement, between the impulse and the action, our inner and outer lives. Voice, gesture, making a decision – all is movement. The true actor develops the openness and tools that allow the purity and accidents of movement to be revealed through the most honest means possible.
Mr. Bentley-Fisher introduces the actor to a series of exercises and improvisation that take the actor through the inner and outer movements that will help in the process of transformation when building the character. The assumption here is that our inner and outer realities and different, and it is the relationship and movement between these two different realities that create the most riveting performances.
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1. Inner life and outer life. The difference and interplay between them both.
2. The movement qualities of weight, space, time and flow, both contending and yielding.
3. Acting as an active/doing process. Solving the problem. Playing the objective.
Going through the process rather than indicating the process.
4. Discovering the Shadow Move; living within the accident.
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Theatre 