No Plan B - Master the Art of Method Acting with Peter Kalos

No Plan B - Master the Art of Method Acting with Peter Kalos

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$329 – $995

Date and time

Location

Brent Street

122 Lang Road

#Building 101

Moore Park, NSW 2021

Australia

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There's a massive difference between acting students and an actor… I work with actors! Next level, no Plan B- come get it!

About this event

I want to take 12 actors- already "good" – and show them some skills that will take their work to another level. I'll show you many of these skills/exercises I didn't read in a book, I saw terrific teachers teach them, AND I saw amazing actors use them on many film sets. The work is valuable when you directly connect something you do in class and on a film set. It's not just an idea; it's an actual skill.

But there's only room for 12; you'll work on a monologue, and I'll pair you up and do a scene. You'll find an entirely new understanding and insight into acting.

Dates:

  • Friday, 15 July, from 7:00 AM to 11:00 PM
  • Saturday, 16 July, from 10:00 AM to 5:00 PM
  • Sunday, 17 July, from 10:00 AM to 5:00 PM

That's 35 hours of teaching time.

PARTICIPANTS: $995.00 // These actors will do ALL the exercises AND scenes and monologues.

Some of the work that will be covered will be;

  • Lee Strasberg Relaxation exercise; you hear many actors being Interviewed on "Inside the Actors Studio", and they talk about relaxation; this is what they're talking about. You will learn to focus and bring your mind and body together with such skill that you will not be distracted by everything around you on a film set or stage. That concentration level is needed if you're doing that heavy-duty work; it's a body, it's not a machine, and you need to get to know your body. I hate using that "arty" word "Instrument", but it's true, your body is your acting instrument, and this skill will help you have it at your disposal. It's like an athlete stretching, it takes years, and it takes consistency. I can show it to you, so you have it for the rest of your acting life. This is one of these things that you cannot just 'catch up on."
  • Sensory work; is probably one of the most misunderstood and poorly taught acting skills. You do "sensory" work every day of your life without thinking, a smell triggers a memory, a sound, a place; all these things begin connections in your mind, and we, as actors, know how to feed those connections NOT for an emotional result, but for a connection to the set, the lines, the other actors. That still doesn't" just happen" as most actors think. Actors across the U.S. have worked on sensory exercises for years. I can show you many of them, so you understand the concept- and then you take it away and master them on your own.
  • Improvisation; a teacher in L.A. once called me "machine gun mouth." Improv is not about the words and being funny and entertaining; it's about strategically exploring specific aspects of the scene as the character so you "find" your connection words. I've seen amazing actors use this skill; when you visit the results, you realise that there's no magic bullet; they found that moment by explorations through improvisation.
  • Drunk exercise (and others), you need to learn the skill of playing drunk – we never use actual alcohol, you'll be amazed at what you can do just with water… but it's a skill, and it's needed because I know one day on some project you'll be doing a drunk character. Most actors "act drunk' and people can spot that a mile away. Kazan once said, "a drunk person is trying to show you they're sober." We master this skill so well that people will not even see the work behind it all. It's a skill, a tool that you need in your belt.
  • Character work; is the mother of all the acting skills. So many people just play themselves and their own emotions. We're talking about character work… where you stop making it about yourself and find the heart and soul of the character using the ingredient that suits the character and finding or developing the other traits you don't have. Stella (Adler) was brilliant at this; that was her strength; we did it through animal exercisers and many other tools to help you find the character. I always tell people, "what happens internally is always you; how it comes out is the character.
  • Monologues (participant only) need a monologue handy, one you're right for and one you've mastered. You'll be amazed how many times casting agents or directors go, "just do a monologue", so the actors frantically try to get one together in a few days, but if you have one you've worked on for years (yes, years) you have one ready to go. It's no one's business how long you've worked on it, and you shouldn't tell anyone, but when you have one ready – it will show them your acting muscle and what you're truly capable of. Throughout the workshop, I can help you pick the right one, give you ingredients to work on for that monologies, we can take it to certain levels so you see what's possible, and then master it after that.
  • Scene work; (participant only) this is where it all comes together. Easily 90% of the actors out there "just do the lines." I want you to understand acting like this, I can drag anyone off the streets, give them some lines and have them take a shot at it. That has nothing to do with acting- there's a whole other layer to our work, and trained actors know this. Remember, everyone gets the same script… so what makes their work stand out? Place, prior circumstances, relationships, needs, wants, the connection to the other character, the character's internal struggles, the list goes on and on… but the best thing I've learned is this, you don't need to bring "sand to the beach!" If certain things are already in place, work on them, use what's there- your own life, the connection with the material, the other actor, etc.- and create (through various skills) the other events needed for the scene.
  • Thinking actors! There's a massive difference between a chef and a cook; a chef creates their own menu and knows many aspects of food and ingredients, and a cook gets told what to do and does it. If you want to be a cook where you turn up on a set and get told what to do, this course isn't for you. But, if you want to learn how to master and trust your own work, so you turn up on a set with genuine ideas AND the capacity to deliver those ideas, then you're an actor; that shapes careers. At the end of the day, that's what I do; I teach thinking actors.

OBSERVERS: $329.00

You won’t just sit in the audience; you’ll observe the workshop AND participate in about 60% of the exercises (many can be done from your chair or a small space to move in.)

This course is also open to DIRECTORS- so that you as a director understand how to communicate better with actors. Laurence Bender (Quentin Tarantino’s producer) did a similar course to this in L.A. for 9 months straight, he said… “If I can learn how to help an actor, my dollar will end up on the screen” that’s how you become a producer; it’s not just about money.

PERSONAL NOTE:

I realised recently that I have never done anything outside acting since I was 19; I'm 55 now. For 35 years, I haven't had a "Plan B" this has always been it for me. I lived in Los Angeles for 20 years. I have studied acting with amazing people, Stella Adler HERSELF for 3 years, Lee Strasberg Institute 4 years full time and 4 Years part time. I've worked with people such as DeNiro, Barry Primus, Mark Wahlberg, Dudley Moree, Eli Wallach, Martin Landau, and many more.

I returned to Melbourne about ten years ago and opened the Melbourne Actor's Lab- (or "The LAB"). It's a small school, but in the last few years, we've earned two Logie Nominations and 2 AACTA nominations. I have trained actors such as Nicole Chamoun, who just finished as the lead in Troppo (opposite Thomas Jane aka The Punisher), Rohan Mirchandaney, who's one of the leads on LaBrea, Claude Jabbour (Stateless / Eden), Jacqui Purvis (Home and Away) – these actors studied mainly at the LAB for quite a few years.

Not bad for a small school.

During the Covid lockdowns here in Melbourne, my 18-year-old daughter took her own life. After something like that, you look sternly at who and what you are. I remember that day, and it occurred to me that I am an acting teacher; I have studied acting, been an actor, and witnessed some of the world's best work in front of me… I build acting muscle- I have done nothing else with my life but this. I take this very seriously. I know my shit- that's not ego talking; that's me having spent my entire life understanding acting!

I've never done a workshop outside Melbourne- I'll be coming to Sydney, Perth, Byron Bay and Brisbane for a 3-day workshop.

I hope you join me.

Peter

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