The third aspect of actor training is one rarely viewed as an area of training, but one which is intrinsic to an actor's success. Even before I studied at the University of Connecticut under three teachers from the London Academy of Music and Dramatic Arts, I could see the true power of one's love and devotion to dramatic literature. In my professional past, I experienced directors who could beautifully landscape a play onstage conceptually, but had no theatre training except that they loved the literature and were devoted to the playwright's vision. British actors and directors also have a rich heritage with the spoken word; something American actors have not fully developed. I see the advantage of students learning to love dramatic literature. The enthusiasm and vitality of devotion to text can bring a true depth to the actor's professional life, from my perspective.
Because each actor comes into their training with certain areas of strength and certain areas of deficiencies, a holistic method of training should include a physical method of training the body and voice, an affirming emotional environment where risks in their work can be taken and a rich and vibrant interior life can be built plus a constant challenging system to spark an actor's desire to dig deeply into all genres of dramatic literature. The training process should have all instructors encouraging the other areas of enrichment.
Although I have taught on the undergraduate college level for 33 years, I remain enthused with how to make the process exciting for the actor but at the same time exciting for me as a late career acting instructor. The three approaches encompass a fundamental foundation to actor training.
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