The Fundamentals of an HB acting technique: Here, you develop the ability to respond truthfully, dynamically, and vividly with fellow actors and the ability to access sensory elements. You tap into the power of imagination and the reservoir of memory. You gain a working understanding of the terms: previous circumstances, destination, inner and outer objects, intentions, obstacles, and conflicts. You develop an awareness of the power, function, and dynamics of “place”, and learn to be in a state of discovery, which leads to actions. You develop tools of research and observation and you get comfortable improvising. You begin to measure yourself against professional standards and develop habits of discipline and a strong work ethic. Do understand that these practices take time to master. It takes about a year (20-30 weeks) at this level to really own the skills addressed. Further scene study or performance work will then take root in this fertile ground. 

• Learn more about the instructor. 
• Required reading: A Challenge for the Actor by Uta Hagen.
• Recommended viewing: Uta Hagen's Acting Class documentary. 
• Prerequisite: Open to all.

The Fundamentals of an HB acting technique: Here, you develop the ability to respond truthfully, dynamically, and vividly with fellow actors and the ability to access sensory elements. You tap into the power of imagination and the reservoir of memory. You gain a working understanding of the terms: previous circumstances, destination, inner and outer objects, intentions, obstacles, and conflicts. You develop an awareness of the power, function, and dynamics of “place”, and learn to be in a state of discovery, which leads to actions. You develop tools of research and observation and you get comfortable improvising. You begin to measure yourself against professional standards and develop habits of discipline and a strong work ethic. Do understand that these practices take time to master. It takes about a year (20-30 weeks) at this level to really own the skills addressed. Further scene study or performance work will then take root in this fertile ground. 

• Learn more about the instructor. 
• Required reading: A Challenge for the Actor by Uta Hagen.
• Recommended viewing: Uta Hagen's Acting Class documentary. 
• Prerequisite: Open to all.

Esta clase, impartida en español, es un curso de nivel combinado (Niveles 1 y 2). Está basada en la técnica de Uta Hagen y diseñada para guiar a los actores en el proceso de preparación y ensayo de textos dramáticos. A través del trabajo de escenas, monólogos y soliloquios, los estudiantes aplicarán los Seis Pasos de Hagen mientras fortalecen herramientas esenciales como objetos internos, sustituciones, transferencias, atribuciones sensoriales y el desarrollo del personajes. Los estudiantes trabajarán con escenas de obras hispanas contemporáneas y clásicas, transitando por un ciclo creativo de descubrimiento, investigación, experimentación y refinamiento. En clase, los actores presentarán su trabajo, recibirán notas y continuarán explorando el arco completo del material—incluyendo el entorno, la partitura física, la vida emocional y las motivaciones—para dar vida a cada escena con honestidad, especificidad y riesgo creativo. Se podrán incorporar ejercicios de técnica según sea necesario para abordar desafíos actorales específicos. Se espera de los estudiantes un compromiso de ensayo con sus compañeros fuera de clase, con una dedicación estimada de 2 a 3 horas semanales de preparación.

• Aprende más sobre el instructor.
• Libro necesario para el curso: Un Reto Para El Actor (Artes Escénicas) by Uta Hagen.
• Requisito previo: El curso está abierto a actores hispanohablantes de todos los niveles, así como a aquellos para quienes el español es una segunda lengua y desean profundizar su capacidad para actuar en español

The Fundamentals of an HB acting technique: Here, you develop the ability to respond truthfully, dynamically, and vividly with fellow actors and the ability to access sensory elements. You tap into the power of imagination and the reservoir of memory. You gain a working understanding of the terms: previous circumstances, destination, inner and outer objects, intentions, obstacles, and conflicts. You develop an awareness of the power, function, and dynamics of “place”, and learn to be in a state of discovery, which leads to actions. You develop tools of research and observation and you get comfortable improvising. You begin to measure yourself against professional standards and develop habits of discipline and a strong work ethic. Do understand that these practices take time to master. It takes about a year (20-30 weeks) at this level to really own the skills addressed. Further scene study or performance work will then take root in this fertile ground. 

• Learn more about the instructor. 
• Recommended viewing: Uta Hagen's Acting Class documentary. 
• Prerequisite: Open to all.

Monologues are strange. On paper, they look like big chunks of words. On stage, they should be the furthest thing from that. They are part of the backbone of some classical plays. They are common in many contemporary plays. They are nonexistent in others. They can be a character's fantasy, an admission to an audience, or just a long speech as part of a dialogue. Irrespective of what shape or form they take, monologues always seem to find their way into an actors' life: beginning actors almost always need them as audition tools and working actors always stumble upon them in one project or another. But how can one believably speak for so long? How does an actor thread their thoughts in a long speech? How do we as actors honor our given circumstances while staying engaged and driven? How can we keep them fresh? And most importantly, how can we reveal ourselves through them? This class is dedicated to help you throughout the whole monologue process, from choosing the right piece, to navigating its technical and emotional requirements, to creating maximum impact in the room.

• Learn more about the instructor.
• Prerequisite: Open to all

In this workshop, we will explore the fundamental tools and concepts necessary for rehearsing and performing a Shakespeare play. We will begin with two assumptions. First, even if you don’t realize it, you already have everything you need to perform Shakespeare. And second, the best way to understand Shakespeare’s work is to engage with the text actively. His work is meant to be spoken out loud, shared, and performed. His language cries out to exist in the here and now, and an actor’s job is to bring these words out into this moment and time. We will explore a series of speeches and scenes as a group, utilizing the tools that allow an actor to unlock the text and take ownership over the language. Each actor will also be invited to bring in a speech of their own to work on individually in front of the group. Finally, we will spend some time exploring how these tools can be applied to any text, classical or contemporary. By the end of this workshop you will have gained practical experience working on heightened language, a basic understanding of an actor’s main tools for rehearsing Shakespeare’s plays, including use of iambic pentameter, scansion, melody, rhythm, antithesis, pitch, and operative words, and begun the foundational work on a new classical monologue to add to your repertoire. An exciting speech coming from a place of personal truth. For the First Day of Class: Bring a speech that you want to work on from any Shakespeare play. Please be sure to read the full play.

• Learn more about the instructor.
• Prerequisite: Open to all levels, but prior acting training or experience is required.

The Fundamentals of an HB acting technique: Here, you develop the ability to respond truthfully, dynamically, and vividly with fellow actors and the ability to access sensory elements. You tap into the power of imagination and the reservoir of memory. You gain a working understanding of the terms: previous circumstances, destination, inner and outer objects, intentions, obstacles, and conflicts. You develop an awareness of the power, function, and dynamics of “place”, and learn to be in a state of discovery, which leads to actions. You develop tools of research and observation and you get comfortable improvising. You begin to measure yourself against professional standards and develop habits of discipline and a strong work ethic. Do understand that these practices take time to master. It takes about a year (20-30 weeks) at this level to really own the skills addressed. Further scene study or performance work will then take root in this fertile ground. 

• Learn more about the instructor. 
• Required reading: A Challenge for the Actor by Uta Hagen.
• Recommended viewing: Uta Hagen's Acting Class documentary. 
• Prerequisite: Open to all.

The essential forces and circumstances that underlie human behavior – and character behavior – are the same, but the way this behavior manifests itself can differ widely form medium to medium, or from one kind of material to the other. How is television and film writing different from theater writing? How are the storytelling mechanics different in live and camera performances? And how do these differences inform what we must do as actors to tell those stories? This class is dedicated to helping the working actor carry over their strengths and talents in theater into camera work. How do we maximize on our theater training when tackling television and film work? And how do we build new skills that the medium requires? And how can we help ourselves get rid of patterns that stand in the way of truthful acting in general? Taught in a hands-on environment, the class involves scene work, camera work, script analysis, and guided peer to peer discussions.

• Learn more about the instructor.
• Registration Prerequisite: Open to all actors who have prior actor training or experience.