Meisner I
Sanford Meisner's teachings had a seminal impact on the acting craft. Students deeply immerse themselves in the Meisner Technique, which enables them to discover their voice of intuition and to inhabit a role spontaneously, from moment to moment as well as to build a character arc that is both specific and inspired by the actor's own responses.

Voice and Movement I
In both film and theatre, a character's objective is often illuminated by the playing of strong physical actions. In other words, what a character does, more than what he or she says, is what defines his or her true desire. Movement, in addition to strengthening body posture and contributing to an actor's ability to relax and prepare to play a role, also focuses on breaking down inhibitions, building ensemble spirit, and giving the necessary tools to bring depth to the physical dimension of assigned roles from dramatic texts. Additionally, in the Voice portion of this class, students gain insight into using their voices safely and effectively by freeing themselves of tension, maximizing vocal resonance, and discovering the extent of their playable pitch range. This vocal freedom leads to emotional freedom, complete character development, effective storytelling and powerful presence.

Speech
An extension of the Voice work, Speech focuses on the elimination of foreign accents and regional dialects by developing Standard American Speech. Using the International Phonetic Alphabet (IPA), the actor learns to correct habitual speech problems and prepare for future dialect study. The results include greater ease, clarity, and expression with text, and the ability to undertake a wide variety of roles.

Text Analysis
Actors learn the history and development of seminal dramatic texts from the 20th Century to the present. Both stage and screenplays are studied. Often the same script is read in both formats: e.g. Tennessee Williams; A Streetcar Named Desire; Eugene O'Neill's, Long Day's Journey into Night.

Improvisation
The ability to improvise can never be underestimated when it comes to acting, especially on camera where there is usually very little rehearsal. Whether in comedy or drama, actors improvise well when they are fully engaged, listening to their partners, and releasing their inhibitions about failing. Through games and exercises, students learn how to let their imaginations run wild, how to play well with others, and how to live "in the moment" — free from anticipating or planning what to do next.

Shakespeare
Some people say that if you can play Shakespeare truthfully, you can play anything. Students learn how to speak, physicalize and bring strong subtextual insights to Shakespeare's classical language, but with a modern approach that assimilates the actor's personal experiences.