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WELCOME TO THE 2010 Power of Performance ENEWS! |
See below for PoP's July 2010 Tutor line-up! |
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Each tutor has been carefully matched to their module based on their expertise to deliver maximum creative outcomes... |
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| MODULE ONE | THE ACTING PROCESS | |
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The Key Essential Elements |
"One of my primary aims and that of Module 1 is to help actors find the extraordinary in themselves and in others, allowing their imagination and creativity to soar as they connect instinctually and fearlessly with each other on stage. It is then that our talent is truly unlocked. People "become fascinating by being fascinated." Sam Haft |
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MODULE ONE TUTORS CLICK PIC FOR BIOG |
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| "In the last 2 years, I’ve realised that the toughest question for those who are learning to act is: What did I do well? My mission is to make this question easy for people to answer. Seeing and hearing people turn this mindset around as they release their creativity with confidence is my passion!" Antony Grgas |
"For me, Module 1 is all about unlocking the imagination, allowing yourself to be present, to own the space & find the joy in that - rediscovering childlike spontaneity & the ability to play." Sara Grenfell |
"Module 1 establishes a firm and exciting foundation for the actors' process: developing skills for our 'actor’s tool box'. It's incredibly important for the advanced modules as well as it forms the foundation and adds the creative advantage across other disciplines in many different industries as well." Jamie Irvine |
| MODULE TWO | PERFORMING THE PLAY | |
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SSCOTT WITT has worked in stage, TV/Film film for 25 years acting, directing, fight directing and clowning for STC, Opera Australia, La Boite Theatre, QTC, Bell Shakespeare....
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"As a professional I believe we have a responsibility to pass on our knowledge and this is paramount to the ongoing development of our industry. Working environments such as ACA provide a fantastic opportunity for teachers such as myself to share our knowledge with young artists who will also challenge the work and take us all to new levels." Scott Witt "It's exciting in Module 2 to be working with a passionate group of actors to bring a play from the page to life. It also touches the individual and an entire audience by identifying deeply with the play and translating the characters' lives into an exciting physical journey - all the while nurturing a sense of ensemble and lifting each individuals abilities to new heights." Sam Haft |
| MODULE THREE | PERFORMING IN SHAKESPEARE |
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LYN PIERSE pioneered Theatresports® training in Australia, New Zealand and Japan. Lyn is a graduate of nida and has since appeared on stage, film, radio and television in productions such as Berkhoff's Greek, Measure For Measure, The Women Of Lockerbie and as Pam Coughlan on the SBS series, Going Home and as Sister Mary Leonard… "Acting skills empower us to be in the moment. They sharpen our awareness of ourselves, others and the space around us. When actors find breath, release voice, embody and react to and want to change each other, magic occurs. I believe rigorous attention to craft, skills and process, is the only way to support the freedom we all aspire to in the moment. Whether on text or improvised dialogue, a thorough craft will support the actor. Training of the voice and body is a life's work. Studying acting is a life journey.” |
| MODULE FOUR | PERFORMING AMERICAN THEATRE |
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 DALE MARCH |
DALE MARCH is a graduate of ACA's full-time course and has appeared in The Removalist (Sydney Theatre Company), an adaptation of Eugene O'Neill's Long Day's Journey into Night with the Actors' Ensemble in New York and is currently shooting the film Eugene's Ghosts in the states and will be returning to teach Performing in American Theatre. |
| MODULE FIVE | PERFORMING ON SCREEN |
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 MARTY MURPHY |
MARTY MURPHY is a filmmaker, writer and comedian with a cult following for his live one-man shows; Happy & Clean, Mr. Stripey Suit and Speedy Mustard. As a logical follow up to his critically acclaimed horror film Lost Things, his second feature, The End of Anxiety, due for production next year, is a satire set in the fictional department of Homeland Security in Canberra. "My aim is to reinforce strong habits of camera technique so that the acting student can perform well under the varying demands of shooting on location. I start with basic scene work, analysis and rehearsal, with blocking scenes for camera." |
| MODULE SIX |
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PERFORMING IN AUDITIONS |
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MICHAEL DENKHA |
MICHAEL DENKHA has extensive TV, Film and Stage experience as an actor. Recent highlight is A Streetcar Named Desire at STC. His TV work has included All Saints, East West, Home and Away, All Saints, Stingers, Blue Heelers. He has worked with STC, B-Shap, Bell Shakespeare, Griffin Theatre and Darlinghurst Theatre and his film credits include Crossover, The Combination, The Nothing Men, Mask II. He has also directed Road Rage at Newtown Theatre and Blue Window at Belvoir Street. His teaching method brings acute experience from the industry. "The audition process can be a daunting challenge. My philosophy on harnessing nervous energy, having an openness of mind and a constant curiosity to create great work is simple: Work, work, work. To nail your audition. Whether we get the job or not to still make an unmistakeable mark. To make such a strong impression, means in the end the work itself will come to us." |
| MasterSessions Launch! |
FURTHER INFO... |
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These special MasterSessions are aimed to heighten your educational experience with us and move you to a new level of understanding & achievement. |
Guests will include international theatre directors, film & television directors, top casting director |
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For more information about PoP CLICK HERE |
BE PART OF THE ACTION! |
Contact us: |
Welcome to this new innovation for all advanced modules. At strategic points within each advanced module, various industry experts will join you for special events in the ACA theatre. These exciting sessions will bring you up close and personal with influential artists where you will gain essential information and insights that compliment your ongoing work within your module.
The audition process can be a daunting challenge. My philosophy on harnessing nervous energy, having an openness of mind and a constant curiosity to create great work is simple: Work, work, work. To Nail your Audition. Whether we get the job or not to still make an unmistakeable mark. To make such a strong impression, means in the end the work itself will come to us.