All actors are told that "being in the moment" is important, but no one teaches the actor how to be in the moment effortlessly. The trigger approach is designed to give the actor a working methodology for achieving that performance state. Originally developed by Richard Seyd the approach is a way of breaking down text, thought by thought, to enable the actor to live more authentically and spontaneously in the moment during performance. This is an approach that begins the first time you see the script and coninues throughout the performance.
Although developed as a way of breaking down theatre scripts and live performances, among our students this technique has proven to be invaluable for film work and on-camera auditions.
Ever watch a movie or audition for one with the feeling that a certain role was perfect for you? Almost as if the writer had you in mind when he wrote it? The more comfortable we feel portraying certain roles the better we do in auditions, on the set and on the stage. The larger our range as actors the larger variety of roles we feel comfortable playing.
Stretch work focuses on expanding your range as an actor. The actor and the teacher first agree on what areas of their work the student is weak. All actors have natural strengths and weaknesses. Through very highly structured improvisational work the teacher focuses the actor on his or her own problem areas. Through this work, over time, the weaknesses themselves become strengths, enabling the actor to approach their work with more confidence and to become more fully rounded as a performer. It is a profoundly effective way to continue growing as an actor.
Our classes are a safe way to explore the roles you may have shied away from without any negatives repuercussions.
We know that in order to succeed great actors must not only be great in class, but on the set and in the audition. When working on audition skills, the classes focus on finding and preparing monologues that show your full range, cold readings, rules for how to control your own audition and be as comfortable and confident as possible. Time is given (during the ongoing classes) for students who would like to spend class time preparing for upcoming auditions.
Time will also periodically be spent discussing how to behave on set and in rehearsal as well as how to develop a marketing strategy for yourself as an actor. (dealing with casting directors, agents, photos, resumes, etc.)
What is Fitzmaurice Voicework?
Fitzmaurice Voicework combines classical voice training for the theatre with adaptations of several body-based disciplines including yoga, bioenergetics, and shiatsu.
The first phase, called Destructuring, opens the breathing (the energy for voice) and reduces bodily tension, which masks and limits the full range and expressiveness of the voice. The actor becomes aware of vibration throughout the body and deepens the connection of the voice to spontaneous impulse.
The second phase, called Restructuring, develops support and focus for the voice so that actors can share themselves fully, without straining with other actor and with audience large and small.
Where is Fitzmaurice Voicework taught?
Fitzmaurice Voicework is taught in the MFA Acting programs at Yale and Harvard Universities, at the American Studio of the Moscow Art Theatre, At NYU studios and in many other training programs throughout the world.
About the founder, Catherine Fitzmaurice
Catherine Fitzmaurice studied at the Central School of Speech and Drama in London, England where she was a scholarship holder and prizewinner. During the last thirty-five years, she has adapted body-based disciplines (yoga etc.) for voice training and combined with classical techniques to form Fitzmaurice Voicework. Now based in New York, she has thought voice all over the world, including Julliard, Yale, Harvard, NYU, The Central School of Speech and Drama, and the Moscow Art Theatre. Ms. Fitzmaurice is currently writing a book about her work.