The Actors Workshop

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Our students are ensured every opportunity of attaining competency through our framework of comprehensive training and assessment strategies.

Training is delivered via supervised application of the performance criteria in the classroom. Students are run through simulated auditioning and other workplace relevant scenarios to prepare them for professional work.

The training strategy involves an extremely high ratio of practical application and performance. This includes in-house productions for theatre each term and weekly shoots of film and television scenes. Original short films and new work theatre is produced at the completion of the Advanced Diploma and Diploma courses.

Students are assessed on their application of workplace relevant skills and knowledge, and all assessments involve practical demonstration of competency. Subjects involve assessment benchmarks as training progresses. Additional needs of individual students are identified and acted on throughout the progression of the course. Students receive direct feedback from each trainer on a weekly basis as well as semester reports.

Additionally, the work experience program allows students to apply and refine their skills. This takes their practical experience and competencies outside of the training context and into the workplace environment. As well as fostering professional networks, the work experience program reinforces a real world application of the students' training and develops their professional practice, confidence and competency.

An amazingly technical yet basic device,the lenses job is simply to see. In extreme close-up the slightest hesitation or vacancy by the actor will be picked up. Vice versa, it loves thoughtful, rehearsed and committed actors.

Emotion is a visceral reaction to a situation or circumstance. Feeling is the intellectual faculty of choice.

Repetition is a device for throwing an idea into prominence. Répétition is also the french word for rehearsal.

The protagonist is a wilful being, powerful enough to sustain desire, through conflict, having strength to take action and cause change.

Release. Breathing. Centering. Articulation. Diction. Resonance. Projection. Intonation. Pitch. Pause. Phonetics. Cold Reads. Radio Plays. Vocal Warmups.

Jungian archetypes are an important tool for character analysis & creation. In essence, most archetypes are patterns derived from historical roles in life or universal events/situations (initiation, death, rebirth etc). Archetypes are further shaped by unique individual unconsciousness.

With the Village Roadshow Studios nearby, actors should seek the ability to produce a credible general american accent on cue.

Good listening skills are a vital part of communication and therefore spontaneity of a scene. Hearing is something ears do. Listening is a psychological process that plays a major part in our action/reaction mechanisms.

Accounts written by Aristotle more than 2300 years ago suggest Thespis of Icaria was the first person brave enough to invoke a character on stage. This legendary moment is considered to be the birthplace of acting in the western world.

FLOURISH, LUNGING SWORD STRIKE! Actually, there is a lot more to stage combat than fisticuffs. It's about presenting the natural intentions of the characters during their fight, struggle, manoeuvre or fall, numerous times for camera or audience, while maintaining safety for all involved or watching.

A shot over the shoulder of one actor (whose shoulder may be recognised as 'dirty in frame'), focusing normally on the face and upper torso of the other actor in a scene; generally shot in pairs so both actors expressions can later be edited together.

England's Monarchy was restored in 1660 with King Charles II's return. The 'Merrie Monarch' ended puritan ways with french ideals. He re-opened the theatres and allowed females to the stage for the first time. He encouraged the notorious sexually explicit comedies which soon permeated England.

Choreographed by Director & DOP to give the scene different positions. Marks can be placed at specific points for the actor to move. Hitting the mark is one of the most vital skills an actor must sustain. When 'starting positions' is called, the actor is to return to their first position.

Myths are stories that hold a universal truth. Not literal, but beyond the literal. They are the stories we tell to explain the inexplicable. The cosmos around us: the roots of our existence: the cogs of our perspective.

"Theatre is simply what cannot be expressed by any other means; a complexity of words, movements, gestures that convey a vision of the world inexpressible in any other way."... Eugene Ionesco

The actor's adjustment of body position away from what might be absolutely "natural" in order to accommodate the camera; can also mean looking in a different place from where the other actor actually is.

The Camera Emotion vs Feeling Repetition Protagonist Voice Archetypes American Accent Listening & Reacting Thespis Stage Combat Over-The-Shoulder Restoration Technical Blocking Myths Eugene Ionesco Cheat-The-Angle