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The LAACTTM mission statement, "To Act and Inspire," is derived from the German philosopher, Johann Wolfgang von Goethe. To ACT means to "DO," to take action, to respond. To INSPIRE means to motivate into action, to elevate, to arouse, enliven and engage.
With specific regard to your career as an actor our mission is to train you so well that you have the confidence to drive your career forward, to elevate yourself and those around you, and to establish your reputation as someone to watch, both on screen and off.
In the Beginning Program you learn an exercise that teaches you how to function when you act. In the Scene Study Program we show you how to use the exercise as an improvisation. The improvisation becomes a tool for problem solving that you can employ throughout your life in art.
LAACTTM
-- The Principles --
Your training at LAACTTM is principle centered. The first principle is, "You have to be connected with your working partner." That means you have all attention on your partner. The second principle is, "Acting is instinctual." Your acting is not made of of the moments that you make happen but rather of the moments that happen to you. Therein lies the difference between great actors and all the rest. For the great actors it's really happening to them.
The third principle is the absolute bedrock fundamental to our approach to acting.
Art Expresses Human Experience
It is this principle toward which every effort is applied at LAACTTM. This is the same principle that guided The Group Theater in New York during the 1930's. The Group permanently changed and elevated acting in America. Lee Strasberg, Harold Clurman, Clifford Odets, Stella Adler, Sanford Meisner, Robert Lewis, Elia Kazan, and more, all came out of The Group Theater. These are the finest teachers of acting and among the finest actors, directors and writers that this country has produced.
The people who made up The Group shared a work ethic and common ideal that drove everything they did. Those were historical times that cannot be duplicated but what could happen if there was a group of actors today who were disciplined in their approach to that same principle; Art Expresses Human Experience.
I draw this parallel in class from time to time.
Take a look at Rodin's "The Thinker." You've seen it hundreds of times, it's iconic in art. But why? Because it expresses the human experience. Originally the precipice of a doorway installation it was thought to be Dante contemplating the Inferno. Later it was believed to depict Man, giving birth to the original thought. Look carefully, every single muscle is flexed to the breaking point, even his toes are clenched. What human experience could drive you to that point. What if you had to act that part? That's your job as an actor, to bring the full measure of a given human experience to life.
  
You see it in Rodin's "The Tempest" as well. Inspired by Shakespeare's play, the face thrusts out from the rage of being trapped in the alabaster. This is not an uncommon emotion demanded of the actor because plays and movies are written about the biggest conceivable events in the human experience and acting is all about the human experience. There are no brush strokes or lighting to consider, just the passion of the human story to be made alive.
Look carefully at Picasso's "Guernica." First, it's a mural; three and a half meters high and seven and three-quarter meters wide. Picasso needed a huge space to fully express his outrage. Look at the emotions and what the characters are going through during the firebombing of a small village in Spain in the 1930's.
Fires smoke and burn in the distance while a woman is wailing over her dead baby. Even in an abstraction, with just a few lines, there is a full sense of her human experience. Cattle and horses run wounded, dazed, and panicked through the chaos. A man, holding a broken sword, is dead on the street; his other hand twisted in agonizing defeat. A woman in shock is crawling and searching for help and reason. Another is desperately seeking loved ones in the dark. A man burns in his home. These images are all beyond the threshold of human experience, there is no way to say them in words, but their faithful reproduction is demanded of the artist and the actor.
A little more practical to the actor, here are some stills from John Ford's movie of, "The Grapes of Wrath." Every frame of the movie told the story. Every face had the hopes, fears, and desperation of every American of the period. As a nation migrated, looking for work, they buried their dead and gave birth to their children by the side of the road. Like Rodin and Picasso; John Ford, Jane Darwell, and Henry Fonda captured the human experience for an audience to see and feel.
 
In all forms of music and dance, from opera to hip hop, the themes run in the human experience. Only in acting is that experience unbridled, unwashed, and lived out with integrity. It is toward that which we aspire at LAACTTM.
Art expresses the human experience and in acting art preceeds commerce. As an actor you have to learn your personal depth and range of emotion, that's your palette. You have to be able to apply emotion in degrees. So, as an actor, you must have familiarized yourself with those emotions, healthfully triggered only by imagination, and have conditioned yourself to permit them on demand.
These are the demands of art. The crone has to advance painfully across stage in La Sylphide, that's poetry of motion; that's dance. Hamlet has to instinctually pull his sword when confronted by an apparition, only to fumble and drop it when he sees it's his father, then to hold the sword up like a cross in his only defense against something unholy. That's poetry of action. The action reveals the emotional content of the scene. Forrest Gump has to keep desperately running back to find Bubba, even if it means getting shot, because that's what friends do in battle. That's the human experience. These things have to happen, they're in the scripts, and the actors have to capture the full depth of the given human experience. That's art. Learn this and commercial success (commerce) will follow. Simply put, the actor with the greatest range and depth of emotion can be cast in more roles than the actor who cannot meet those depths.
You have to find those depths, and know the direction to them, in acting school. You will not find them, or the route to their discovery, when the director yells, "Action." If your acting school does not direct you to those discoveries then you have chosen your acting school poorly.
LAACTTM
-- The Fundamentals --
You have to listen acutely when you act. The casual, analytical way we listen in real life will not serve you when you act. By acutely watching your acting partner you'll begin to see beyond the superficial way we observe in real life. Making your acting partner more important than you gets your attention off of yourself. With your attention off of yourself you are free to respond instinctually.
You have to take things personally when you act. In real life if you took everything personally you'd be a wreck. When you act, if you don't take your acting partners' emotion and behavior personally, you're in a wreck. Acting is not about saying lines, reading aloud is about saying lines. Acting is not thinking or talking. Acting is about imagination, feeling and responding; those things give the authors' words their meaning. When you take what you see and hear personally, it enables your instinctual responsiveness.
When you eliminate your logical responses the only responses you have left are instinctual. Real life teaches us to hold back our instinctual responses but when you act you have to let them out. Your honest instinctual response is the premium when you act. Real life disconnects us from the human experience by asking us to be polite, to analyze and rationalize other people's, and our own, responses. Acting is entirely instinctual and when you train this way you cannot get it wrong, every take is a print. The writer will come up with the words, the actor has to have the human experience that supports those words.
By being in a state of constant adjustment to your acting partner your instinctual response, your organic response, becomes your first response. Acting takes place between you and your partner(s). In the movie business this is called chemistry. In the training at Los Angeles Acting School we call it being connected with your partner and it's in every moment of every practice.
The best actors know that if you really do something it makes you behave real (and if you fake doing something it makes you behave fake). Using your imagination to make what you are doing personal and meaningful is what makes up the best acting. If you have to yell, "Dinner's ready!" out the back door and you fake that, everyone knows it was fake, you didn't fool anyone. They'll just have to call in a looper in post production to get a real dinner call. The actor who fakes is expensive to a production. The fake actor needs more takes and costs more to shoot around, cut around, and post. The actors at LAACTTM train so that every take is honest, real, and works.
Emotional depth and range are the actor's stock in trade. That means it's what you have to offer in the marketplace. Emotion is the vocabulary of the actor. Actors communicate with emotional responses. The words actors have to say ride along the top of that emotion. Your emotion and behavior support the words and make what you have to say real. You can be cast more often, for a wider range of roles, if you have real emotional depth and range at your fingertips. Not all actors can do this. If you can, it pushes you up the ladder.
When you practice these fundamentals, progressively, over time, you develop the practical skills you need when you act. These fundamentals will serve you for your entire life in art.
LAACTTM
-- The Beginning Work --
This is the class in which everyone starts at LAACTTM. First you have to train yourself to function correctly when you act. The fundamentals of acting: to listen, take things personally, freely respond, permit your real emotions, and use your imagination, are all instinctual but you still need a specific, progressive system for their development.
This is a system for training, not a system for acting! I cannot stress this enough. This is an approach to training. Study with LAACTTM builds muscle memory of correct working habits through meaningful and progressive repetition of the fundamentals. These habits will serve you for your entire life as an actor. Over time, with practice, those habits will become second nature to you when you act. You'll learn concrete tools for problem solving but this is NOT Method Acting.
You will NOT be asked to see, feel, smell, or hear things that are not there. You will NOT have to confess some horrible childhood trauma or take off your clothes to learn acting! The approach at LAACTTM is simply a unique American innovation toward a traditional artform. The training is classical but the approach is contemporary (if that means anything to you). The method of teaching is Socratic. The atmosphere is professional.
A regimen of practice is established in this level.
We only teach one exercise at LAACTTM. The exercise is simple but progressive (that means elements are added along the way). This exercise, like any exercise, cultivates development.
There are two problems all actors share: they don’t really listen (unless it's for their cue) and all their attention is on themselves (either egotistically or in second-guessing themselves). The exercise at LAACTTM starts by getting you in the habits of listening, and putting all your attention on your scene partner. When you do that both the big problems disappear. It's easy but it takes practice. That's what you'll learn in your first class. Your entire career will hang on doing those two things every time you act.
You have to take personally what is said to you when you act. Acting is different from life in that respect. You will have to respond instinctually when you act. That too is different from reality where your responses are rational, analytical, reasonable, and logical in nature. You will practice taking what you see and hear personally, and responding instinctually, in every moment of every exercise. We'll practice these first few things in class until you get a feel for what it means to be 'connected' with your acting partner.
In every acting job you will be doing something on camera. Your job, as an actor, is to take a purely imaginary situation and turn it into a real human experience (for the entertainment and enlightenment of audiences). Over the years actors have learned that when you really do something it makes you behave real (having to do with your instincts and talent). Conversely, if you fake doing something it makes you behave fake (having to do with your intellect and analysis).
So, after your first week or two, in your preparation for each class and practice, you will use your imagination to come up with something to do. It may be a project of any description, as long as it is imaginary and you could believe that you might really have to do it. You will have to do that task while listening and responding with your scene partner. You could say the task is a scene; "The day I had to restring my guitar in 7 minutes." or "Today's the day I had to learn Hamlet's advice to the player in 20 minutes." The important part is to really do the task and discover what that produces in you emotionally.
In this exercise is the essence of what you will do in every acting job. So, that is what you will do in every class and practice with your classmates. In every acting job you will have something to do and something to say. The director will give you the actions and the writer, the words. Your job is to make those things personally meaningful via your imagination. You do those things in your classes and practices until they're things you don't have to think about any longer.
Cultivating your imagination, creativity, talent, instincts, responsiveness, and emotional depth and range are things you do in acting school; before you look for work.
LAACTTM
-- Scene Study --
The Scene Study Program at LAACTTM is rigorous. Once you're functioning correctly and consistently we can safely add the author's text. The scenes on which students work are short because scenes in movies are short. For professional work the actor must be acclimated to punching a ton of meaning into a short period of time on screen. Students have to treat class in the same way as they would any professional working assignment. On a set, when the camera is rolling, you have to be at the top of your game. When the director says, “Action,” that’s it, you start to live out the experience. It’s the same in theater; when you’re on, you’re on. We train like that every day at LAACTTM.
In the Intermediate level, all work in class is on-camera and played back for review. We do this to get the actor accustomed to working in front of a camera and get actors used to seeing themselves on screen. This makes a huge difference in the actor’s confidence when working and auditioning. Most actors, when they see themselves on screen, have a violent physical response. They do that because they don’t know what they’re looking at. All they see are facial ticks, wide eyes, and furrowed brows. Then they start manipulating their responses. All their attention is back on themselves and it becomes impossible to respond instinctually. It takes time and practice to get reconnected to the situation and your acting partner once that camera starts rolling.
Actors have to know the difference between good acting and bad acting when they see it on screen. Los Angeles Acting School makes sure that our students can recognize the difference and articulate it. Actors with college and community theater experience consistently add behavior on camera. Getting the actor to simply, honestly, listen and respond, and trust his or her instincts is a huge task and takes hours of work in front of a camera. That work must take place in acting school, before you go out to audition or work.
The Intermediate Work is hard. Imagine walking into a tunnel that's one year long. You don't know in which direction the tunnel is going. You don't know where you are in the tunnel at any given moment. You can not see any light at the end of the tunnel, and everyone but you seems to have a flashlight! That's the Intermediat Work at Los Angeles Acting School.
You will certainly be hired to act in situations for which you have no personal experience or understanding on which to draw. Let's say you're cast as a sharecropper in the 1930's. The Improvisation permits you to find out how you would feel in that situation. Now, you'll begin to see the value of having stretched your imagination and sensitivity. These are the things from which you will draw when you act.
Enter the magic, "As-If." This is, in part, what Stanislavski was after with his 'burning money' exercise. Burn money as-if you had all the money in the world. Burn money as-if it was all you had to keep warm. Burn money as-if it's evidence that will incriminate you. Burn money as-if it's a funeral pyre. Burn money as-if you don't want your 'Ex' to have it. You begin to see the possibilities for emotional discovery when you look at improvisation that way.
Now look at a common situation in acting; the breakup of a marriage or relationship. Depending how you approach the scene it will play out very differently. A break-up between two people who still love each other will go very differently from the break-up between the the same two people who detest each other (or where one of the couple is still in love while the other is not). Via your improvisations, in the end, the scene may have elements of all your play (and Improvisation is creative play) but in the process you will have discovered how the circumstance would feel for you, personally (not some alien character). You will have found the behavior and emotion that support your lines, a personal understanding of the scene, and your work will reflect that clarity.
If the audience cannot tell, from one moment to the next, whether you will break up or stay together, that's galvanizing. Art lives in those moments when camera, actor, and audience are riveted and engaged. The whole effort is pointless without the actors having that real experience.
Working this way gives the actor the concrete tools to solve any acting problem. Every improvisation you do makes an emotional deposit in you from which you will draw for the rest of your career. After six to ten years of working improvisationally you will have enlarged yourself artistically and will find that you instinctually have a feel for most scenes. Another ten years of working this way and your apprenticeship will be over.
When you do the final scene you'll have 85-90% of the text and a real experience of the scene on which you've worked. Los Angeles Acting School is the school of the "lived experience."
LAACTTM
-- The Improvisation --
When you have to get something accomplished and you don't have everything you need, you improvise. When you want a coat-hanger to unlock your car, but you don't have one, you instinctually look around and get creative. That's the state in which you have to be when you improvise. Or, in the scene you are rich and prone to self-indulgence and excess. In the script the lightbulb fails and you can't find the candles. It is not in the script that you light a snifter full of cognac and delight in your own genius. You're improvising, being creative, you've furthered the story, clarified your 'character,' and found an emotional content for the scene (all without a word of dialogue). Improvisation is the creative process for actors.
As an actor you must improvise toward the emotional content of any scene for which you do not have a visceral understanding. The scripts you pick up and have an immediate feel for pay the same as the scripts that evade you. Both roles demand your look and your personality but the latter offers you challenges both artistically and in getting hired. What's missing is a personal, emotional understanding of the script. This is where your imagination and way of functioning are your greatest assets. This is where you improvise toward the behavior and emotion of the scene. You improvise, you get creative, to find what you're missing: "How do I feel about that?" and "How would I do that?"
You're cast in a film as a pedophile. Your eight-year-old neice is violated and all eyes turn to you as the one responsible. Because of the similarities between what the police say and a confession you heard in a support group for pedophiles you have a clear idea who committed this crime. He is your sponsor in the support group and you are sworn to anonymity. He has helped you to get past your own propensities with regard to your neice. In the scene you confront him to confess, your life is on the line, you want to kill him but you are symathetic to his urges. If he does not confess, you go to jail for a heinous crime. If you kill him you go to jail for murder. You are in a difficult situation. How do you feel about that? How would you do that? You don't know, no one knows, the circumstance defies visceral understanding, but you want the paycheck so you have to improvise, get creative and discover the answers to those questions.
It's all in the set-up.
Because you could never believe those things about yourself it comes down to what you can imagine and believe that would bring up the truthful behavior and emotion in that situation. What betrayal could you imagine and believe that would make you want to kill yet restrain yourself? Try it a few ways, improvise and discover those answers. The actor has to have a healthy way to explore for those answers. These are very dark images but that's the direction screenplays have been going for the last couple of decades. Those are the challenging jobs that define us as great actors.
I must be clear that Improvisation is different from "Improv" in just about every way. In Improv the object is to come up with clever and provocative things to say and do. Curiously, the fundamentals are the same; you listen, take personally what is said and done, then freely respond; but in Improv your responses come from your thinking. In improvisation your responses come from your instincts. You use improvisation to discover that which is missing emotionally, experiencially, and find your personal artistic way to fill it in. Now it becomes obvious that without learning the fundamentals, Scene Work is impossible.
Working improvisationally means working freely with the text in the beginning, even putting it in your own words, understanding what you're talking about, being emotionally engaged, and discovering how you feel in the given circumstance.
As you rehearse the scene, you progressively tighten up the text so that in three or four improvisations you know your lines, you know how you feel about the situation generally, and will have discovered something personally meaningful in it. This gives you a way to do the scene that is both artistically interpretive and instinctual. Take any scene through this process, before an audition or acting assignment, and your work will reflect a serious effort on your part. That's the approach to preparation for your auditions.
Your improvisations are cumulative. After a few years of working this way you'll find that when you pick up a script for the first time you already have a feel for what's going on in the scene. After six or eight years you won't need the improvisation any more. You will have "learned" yourself and the whole of your acting will reside in your instincts and talent. Just like any occupation the more you do it the better you get.
LAACTTM
-- Active Learning --
In 1956, a committee lead by Benjamin Bloom published an influential taxonomy of what he termed the three domains of learning: Cognitive (what one knows or thinks), Psychomotor (what one does, physically) and Affective (what one feels, or what attitudes one has).
These taxonomies still influence the design of instruction.
LAACTTM is a vocational school for adults. Therefore, there is a necessary shift from the traditional Pedagogy (the way we teach children) to what Malcolm Knowles termed "Andragogy" (the way we teach adults).
The Andragogy at LAACTTM is rooted in the practicalities of training for a career in the motion picture industry as an actor.
Instructional Design was created during World War II when the need to rapidly train large numbers of people to perform complex tasks became necessary.
The application of Instructional Design to training for the professional actor is likewise a matter of need.
Young adults need to get their careers going as early in their lives as possible. Older adults, who choose acting as their second careers, need to get their careers going as quickly as possible. At the core of both conditions is "reasonableness." A program of training that adequately provides for learning to take place, in a reasonable time frame, can only be described as, Intensive.
Intensive training for the actor is a marketing ploy that gets thrown around Hollywood as if it means something; it almost never does.
There is nothing "Intensive" about one or two classes a week for six or twelve weeks. Short term programs are inadequate for real learning to take place and unrealistic for practical skills to be cultivated, especially in such a complex craft and competitive career as acting. One cannot prepare themselves to compete on a professional level in any career on earth in 6 or 12 weeks.
Acting is every bit as competitive as the Olympics. The people against whom you must audition to win a job work like crazy to win. If they do not they are not your competition; they are no one's competition.
Anyone who tells you that you will be prepared to compete with world class players after 4, 8, or 12 weeks of training is delusional. The people who sell these classes are frauds who are out to steal your money.
Where it is still necessary to commit to a lifetime of learning to succeed and progress in the arts, the time spent on the fundamentals in preparation for a career as an actor must be both adequate and expediant. The early years in one's career as an actor must necessarily build on gaining real experience (getting work) and cultivating one's reputation (working well).
Creating a training program for actors that provides adequate practical experience, realistically prepares one to compete professionally, and can be completed in a reasonable time period requires a shift in the concept of "Intensive."
The Intensive Program at LAACTTM is described in a single sentence.
For ten months, five-days-a-week, you prepare to start auditioning for work as a professional actor.
A second sentence, a longer sentence, describes the Advanced Program at LAACTTM. For 18 months, three-days-a-week, you bring your auditions to class for work on-camera, build on your fundamentals with advanced scene work, and work on marketing strategies for the actor.
The Senior Program at LAACTTM is on-going and is designed for working professionals who want a core group of actors with whom to work on personal and professional projects of their own creation.
This is a necessary shift from traditional teaching as found in colleges where learning and memorization are analogous.
For the purposes of your training at LAACTTM learning takes place through meaningful repetition of the fundamentals, over time. You will have learned to act when you can do it without thinking. It is not your ability to parrot what the teacher says but to demonstrate your personal understanding that connotes learning in acting.
This presents a number of problems and opportunities in training.
Adults tend to pick and choose that which is important to be learned. As in any vocational training, acting entails an array of skill sets which must be integrated. Integrity comes from equal strength in each area; there can be no weak link.
In addition, cultivating those strengths takes place gradually and at different rates between individuals. Learning to act, as in any art form, takes place at each given students' own pace. As a result there can be no predictable timetables for learning outcomes or schedule of learning. That is why a four week or twelve week course of study in acting is untenable from its inception.
Another problem with training adults is that they need to validate what is being taught with their beliefs and experiences.
Learning to act involves a leap of faith. There are definite periods where the student will have no idea what he or she is doing and must trust that the teacher does.
Adults also expect what they are learning to be immediately useful. In training to act there may be months required to master a given element the use for which may not be clear until the whole of the training is complete.
Adults have two direct problems that extend from life experience.
First and foremost, they have extensive rules of responsiveness which have been nurtured over time that prevent them from being effected emotionally.
These machinations have provided for their security and very often their survival in the real world. Secondly, they tend to have fixed viewpoints which prohibit organic and instinctive responses and behaviors.
As learners, adults are knowledgeable resources who can influence other students with rationale and analysis that can unwittingly undermine the training.
Finally, adults learn more slowly than their adolescent and pre-adolescent counterparts. This is bad because they may grow discouraged and quit training or even quit acting before bringing their efforts to fruition.
The good part is that with adults there is a much stronger tendency to retain permanently that which is learned and they tend to remain disciplined in the application of what is learned.
In the area of self-concept adult students greatly enjoy their independence in study. This is beneficial in that personal research and self-education is a life-long habit that needs to be embraced by the actor.
Adults like to be in control. This is an essential characteristic in the life of an actor who is, in every respect, a private contractor. Taking personal responsibility for one's career can mean success and many times survival.
With adult students the teacher's responsibility is to inspire and nurture self-direction both in career choices and acting choices. Adults are highly conducive to this relationship and assertive in their creativity and execution.
Adults share a drawback in that they invariably need to know why they need to learn something before undertaking learning. Adults are far more likely to begin auditioning with no training and do irreparable damage to their reputations in the effort.
Too often, far too often, adult students believe their life experiences are transferable in art. Acting is rooted in imagination. Drawing on one's life experience to provoke emotion is unhealthy and can create neurosis and cause real psychological damage.
Sometimes adult students may have more practical experience than the instructor which causes conflict, distrust and an incapacity to learn as the adult student tries to shift student/teacher power preconceptions to traditional levels.
As an aside, it is important to note that at LAACTTM the teacher is not in a position of power as in traditional learning systems. The Work is the power and the teacher is merely a conduit providing direction.
The teacher at LAACTTM is more of a traffic sign pointing, ONE WAY. "Great acting is that way! Now, it's up to you to dig, scratch, crawl and find your own way there."
It is the student's own personal understanding of the truth that is sought at LAACTTM.
Anyone in class, by expressing their own current understanding, on any given day in the course of study, may provide any other student with the insight and clarity necessary to elevate and deepen cognizance.
Adult students of acting share a readiness to learn.
No one is forcing the adult to take classes in acting. They arrive motivated and ready to learn, because they've chosen to train. Adults are ready to learn at the outset of the educational process and don't require time to 'warm up' to their training.
Adults are pragmatic about their training, have a low tolerance for study that cannot be immediately and directly applied, and want to learn real-life tasks.
Teachers and adult students require a "solution-centered" cooperative learning experience. The process of increasing competence may go by unnoticed if not routinely identified in-process.
In summation; adults have to be treated like adults and given cooperative control over their learning experience. Adult experience is a resource in training so debate and a challenge of ideas must be encouraged.
Materials (scene selections) can relate both to the students' past experiences and learning goals. Emphasis on application of the training to "real world" problem solving must be iterated throughout the training process.
As an interesting note with regard to group dynamics, adults will organically group by experience rather than age and sex.
In the classroom the structured exercise demonstrates the real-world solutions to the problems of acting as a profession. This structured exercise aids in retention, allows for supervised practice, review, and correction to take place in a controlled environment and gets the students actively involved.
For the adult student the personal preparation time required for class work is a drawback and though vitally necessary is frequently viewed as an encumberance. Adults view sufficient class time for exercise and feedback as being of greater value than "homework."
Where reading assignments ensure consistency of information and can be retained for later use there are two problems with imparting information by reading alone: it is difficult to guage what students are learning and reading is subject to mis-interpretation.
Acting is doing, and nothing can substitute the required exercise work and daily practice. Learning to act, how to function when one is acting, the fundamentals and the refinements, can only be securely learned through disciplined and correct practice.
The constant learner involvement, observation, stimulation, and shared discovery of a facilitated group practice aid retention and devlopment of motor functions in a way that cannot be duplicated by any other means.
Where adults may retain only a small percentage of what they see and hear in an educational experience, they will retain 90% of what they do in exercise work and and say when they talk about what they're learning.
In conclusion, the most effective method for teaching acting to adults includes structured exercise work with immediate review and reiteration of the practical applications, demonstration of correct work by other class members, and facilitated group discussion that supports what is being learned and what correct work is.
This is how we teach and how you learn at LAACTTM.
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