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New York Film Academy
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New York Film Academy Bachelor of Fine Arts

Bachelor of Fine Arts (BFA) in Acting for Film

A NYFA BFA acting student on camera NYFA BFA acting students hold wine glasses on set NYFA BFA acting student filming a scene with a flower NYFA BFA acting students film on a porch

Overview of our BFA in Acting for Film

New York Film Academy’s three-year bachelor's degree in acting for film is for highly motivated students who would like to enter an intensive, hands-on professional course of study. By completing the bachelor's degree in three years, students:
  • Save one year of expenses
  • Enter the field of their choice a year early
The Academy makes this accelerated schedule possible by creating an extended academic year, allowing students to complete three full-length semesters in each calendar year. Students may also choose to complete the program in a traditional four-year time frame.

New York Film Academy BFA in Acting for Film degree programs are offered at our Los Angeles and South Beach Campuses.

Qualified students have the option of completing course work at the New York Film Academy’s acting school in New York City in a one-year non-degree program and then applying their course work to be accepted for advanced standing in the BFA Acting for Film degree program.

The New York Film Academy (NYFA) Bachelor of Fine Arts (BFA) in Acting for Film is an eight semester conservatory-based, full-time study program. The curriculum is designed to immerse gifted and energetic prospective actors in all aspects of acting as a discipline. The New York Film Academy’s Bachelor of Fine Arts in Acting for Film program provides a creative setting with which to challenge, inspire, and perfect the talents of its student body. Students follow an intensive curriculum and achieve multiple learning goals.

Our prescribed eight semester acting curriculum serves to address the following core competencies necessary for completion of a BFA in acting:

ACTING FOR FILM BACHELOR OF FINE ARTS: LEARNING OBJECTIVES

    NYFA BFA acting students perform a scene
  • PERFORMANCE
    Demonstrate the ability to create a fully articulated, believable performance in scenes exhibiting emotional depth which are appropriate for actors' physical type and age range in both stage and screen.
  • LITERATURE
    Provide critical analysis of the global standard of literature for film and theater, demonstrating an advanced understanding of the vocabulary, history and writing trends within the industry.
  • PRODUCTION
    Acting BFA students demonstrate an understanding of and basic competency in technical film/video production skills and standards relevant to today's film and television industry.
  • KINESTHETIC EXPRESSION
    Demonstrate technical mastery in the selection and execution of movement, gesture and vocal elements that reveal the subtext and intention of a character.
  • BUSINESS
    Demonstrate critical analysis by researching the industry for their own marketing niche and create a personalized business plan to meet their vocational objectives.
  • SYNTHESIS
    Evaluate the core training skills practiced and synthesize these into the formation of a unique artistic product (vision), allowing for continued growth within the industry.
Overall, the first six semesters of the Bachelors in Fine Arts acting program concentrate on developing the tools required to create a believable character, while the final two semesters refine these tools for use in film/video projects, preparing students for their careers in the entertainment industry.

NYFA BFA acting student holding a gun while filming The New York Film Academy’s Bachelor of Fine Arts in Acting for Film program places a heavy emphasis on two additional kinds of courses: foundation studies and physical and mental wellness. Courses taught in the area of foundation studies focus on communications, analysis and deductive reasoning. Students practice critical thinking, scholarly research, writing and reading. These courses build a foundation for more specialized subjects requiring advanced written and oral communication skills in later semesters. The skills mastered will also prepare students for the advanced course work of constructing an authentic voice in their production projects. Coursework in physical and mental wellness focuses on the theory and practice of lifelong wellness in a stressful industry.

ACTING FOR FILM BFA: SEMESTER BREAKDOWN

During the first semester, students will develop a foundational understanding of the major tools and techniques used by the actor. Students are introduced to voice and movement work as expressive components of character creation. Introduction to Acting for Film provides intensive practice in on-camera acting technique. Foundation Studies of English and math ground students in core skills that will be invaluable throughout their program. Filmcraft provides acting for film students a full-immersion experience into the world of film production, while Acting Technique & Scene Study I provides students with the preparatory building blocks which lay a solid foundation from which to go deeper into the craft. Students will learn of the rich acting technique traditions that have shaped the craft today. In Voice & Speech I, students will begin to develop a free and healthy voice and an awareness of vocal tendencies and adverse conditioning, while Movement I introduces an exploration of the actor’s ability to engage the body in a full and courageously unedited manner as a tool for performance.

In the second semester, students will build upon what they learned in semester one. Expanding upon the techniques and skills learned in Movement I, students will continue their exploration to refine their ability to express character and emotion through the body. Acting for Film I introduces students to the skills necessary for creating a fully-realized performance. Acting Technique & Scene Study II continues the exploration of relaxation, sensory awareness, and creative choice-making and individual performance elements in exercises designed to enhance students’ ability to synthesize their own practical techniques for performance on screen or stage. Students will also continue their liberal arts studies with courses in Film Art and Public Speaking.

The third semester of the BFA in acting for film program students learn in Technique & Scene Study III how to assess the needs of the scene through application of text analysis, inhabiting given circumstances, development and pursuit of strong objectives, incorporation of voice and movement training and technique, breaking text into beats and making strong choices, moment to moment communication with scene partner, and the give and take between scene partners throughout the scene. Acting for Film II builds on the techniques explored in the first semester, teaching intermediate skills necessary for creating a fully-realized performance. On a weekly basis, students will prepare a script and digitally tape the scene. Foundation studies courses in Critical Thinking, Physical and Mental Wellness, and Critical Film Studies broaden the student's skills.

The fourth semester of the NYFA BFA Acting for Film program includes a close study of advanced topics in Dramatic Literature, Topics in Film Studies, and Psychology of Creativity. These courses emphasize research, analysis and synthesis of diverse sources of information. Acting for Film III: Scripted TV introduces the concepts and skills students need for today’s sitcom shoot, while students continue to cultivate their acting skills in Improvisation and Technique and Scene Study IV.

In the fifth semester, acting students progress to a more advanced inquiry into portraying specific human behavior and culture in Technique and Scene Study V (Period Styles), where students explore the definition of style/language analysis, Greek period style, the comic impulse in Commedia Dell’arte, Comedy of Manners and Theatre of the Absurd. In Voice Over, students will learn the highly specialized skill of voice-over acting. They will discover what kind of voice-over work they are most suited for and learn how to use their voice in different ways. Writing for Actors is an essential course which allows students to conceptualize original projects for themselves. Research is again emphasized this semester through upper level classes in arts and humanities like Environmental Biology.

The overall goal of semester six is to challenge students to grow as artists by exposing them to skills, techniques and approaches to acting for film that are more specific and complex than those they learned in previous semesters. Upper level classes like Art, Culture, and Society develop students' understanding of the diverse personal, interpersonal, and societal forces that shape people's lives, and teaches them how to approach these subjects through the concepts, principles, and methods of scientific inquiry. Performing Shakespeare will develop the fundamental concepts of scansion, meter, text analysis and scene study as it pertains to the demands of performing heightened language, as students meanwhile develop advanced film performing techniques in Acting for Film IV. Building the Reel initiates students in the basics of digital editing. Students will learn by experience exactly what is needed to match shots, which will help them understand how to tailor their performances accordingly.

The final two semesters develop the student into an actor prepared to enter the film and television industry.

Semester seven concentrates on new topics with New Media and Play Production Workshop. In New Media, each student will create, pitch, and write a “pilot” for a scripted webisode. Play Production Workshop focuses on the director-actor relationship, walking students through the process of producing a live performance, culminating in a taped full-length performance in front of a live audience. Advanced Voice and Movement: Characterization for the Stage supports this work, allowing students to focus on creating well-developed and fully-realized characters for their workshop. Continuing upper level classes in liberal arts ensure that students continue to deepen and broaden their understanding.

The final (eighth) semester of the BFA in acting for film focuses on assisting students with their transition to professional performing artists, while continuing studies in upper level liberal arts courses. The Final Project course will allow students ultimate individual expression, as they create their capstone project including both a creative project and substantial supporting written documentation. In the Industry Showcase course, students prepare for their final showcase with work on advanced scenes. They are encouraged to explore more intense and emotionally deeper material, choosing scenes that expand their characterization work. This course will culminate in a live showcase of scenes for industry and an invited audience. The Business of Acting/Audition Technique course teaches advanced business of acting skills to students on the verge of graduating with a BFA in Acting for Film. Students will create a business plan, hone auditioning skills for today’s industry, develop cold reading skills, and put together a professional portfolio which will include their headshot, resume, and demo reel. In addition, students will develop their cold reading and auditioning skills through weekly drills of mock, on-camera audition situations.

Course Descriptions

Semester One
Introduction to Acting for Film
Voice & Speech I
Movement I
Filmcraft
Technique & Scene Study I

Semester Two
Voice & Speech II
Movement II
Acting for Film I
Technique & Scene Study II

Semester Three
Acting for Film II
Technique & Scene Study III

Semester Four
Acting for Film III: Scripted TV
Improvisation
Technique & Scene Study IV

Semester Five
Technique & Scene Study V (Period Styles)
Writing for Actors
Voice-Over
Semester Six
Performing Shakespeare
Acting for Film IV
Building the Reel

Semester Seven
New Media
Play Production Workshop
Advanced Voice & Movement: Characterization for the Stage

Semester Eight
Final Project
Industry Showcase
Business of Acting/Audition Technique

Electives
Sketch Comedy
Contemporary Dance
Stunt Workshop
Singing for Actors
Advanced Stage Projects
Entertainment Law

SEMESTER ONE

INTRODUCTION TO ACTING FOR FILM

This course introduces the beginning acting for film student to the skills necessary for creating a fully-realized, on-camera performance. The primary emphasis of the class is twofold: a study of film terminology and set etiquette, and an introduction to the acting challenges unique to the art of cinema — such as shot size and how it relates to performance, continuity, hitting a mark, eye line, and the importance of subtlety and nuance. The differences and similarities between acting for film and acting for the stage are also explored. Students collaborate in a supervised production workshop with film students, which is a full-immersion production approach to acting for film instruction.

VOICE & SPEECH I

In this course students will begin to develop a free and healthy voice and an awareness of vocal tendencies and adverse conditioning. Various techniques will be taught, including and not limited to Fitzmaurice Voicework, Knight-Thompson Speechwork, Linklater, Lessac, and Skinner. Through exploration of phonetic sounds and optimal vowel formation a deeper, more precise and nuanced experience of sounds will be felt. Students will experience a more visceral and direct connection to their voice, unimpeded by habitual tension. An ability to connect images while letting the image resonate through the voice with supported breath will be emphasized through working with text.

MOVEMENT I

In this course students will explore their ability to engage the body in a full and courageously unedited manner as a tool for performance. A focus of this course is to cultivate tools with which the students can externalize their internal life in an authentic manner on impulse and through movement. Various training methods will be taught, including but not limited to Viewpoints, the Suzuki Method, dance, yoga, Laban Analysis, Contact Improvisation, Grotowski, and Chekhov Technique. Through immersion in these various techniques this course will provide the foundation of movement analysis and the application of movement exercises to develop the physical life of a character.

FILMCRAFT

Filmcraft provides the Acting for Film students a full-immersion experience into the world of film production. Students gain basic working knowledge of directing, cinematography, writing, producing and editing, inhabiting rotating crew positions, allowing for real-time experience in a short in-class shoot, supervised by the instructor.

TECHNIQUE & SCENE STUDY I

Acting Technique & Scene Study I provides students with the preparatory building blocks, which lay a solid foundation from which to go deeper into the craft. They will learn of the rich acting technique traditions that have shaped the craft today. Students will learn about their responsibility to the writer, script, and fellow students, as they analyze their emotional and physical instrument and begin to practice technique exercises which will give them insight into the primary function of the actor; that of making clear, readable choices for a character in a given imaginary circumstance. Students will practice relaxation, concentration and specificity exercises as well as learn how to prepare emotionally for a performance. Students learn to analyze scripts and break them down into units or “beats.” They develop a solid grounding in establishing a character based on their own experiences and imagination. In the course, they will begin to understand the differences between techniques and personal process. The focus of Technique & Scene Study I is process, not product. Students will work on exercises, monologues and short scenes from plays applying the techniques they have studied.

SEMESTER TWO

VOICE & SPEECH II

Building upon the foundations established in Voice & Speech I, students explore the application of learned vocal techniques to text in order to expand vocal variety and organic connection to the character and story. There will be a focused refinement of vocal production and a deeper connection to images and text. Various techniques will be taught, including and not limited to Fitzmaurice Voicework, Knight-Thompson Speechwork, Linklater, Lessac, and Skinner. The students will explore text work by focusing on the enhancement of the variety of vocal choices, along with intelligibility and breath support that is connected to image and character.

MOVEMENT II

Expanding upon the techniques and skills learned in Movement I, students will continue their exploration to refine their ability to express character and emotion through the body. Continuing the use of multiple approaches to movement and its analysis, which includes and is not limited to Viewpoints, composition work, Contact Improvisation, dance, yoga, Laban Movement Analysis, Grotowski, and Chekhov Technique, the Movement II course will refine and expand students’ proficiency with their physical instrument. This course will focus on applying physicalization to character through improvised and scripted performance.

ACTING FOR FILM I

This course introduces the beginning Acting for Film students to the skills necessary for creating a fully-realized performance. The primary emphasis of the class is the practice of the subtlety and nuance of film acting, including learning to adjust the performance for specific shot size, finding the arc of the character, and learning how to maintain the integrity of the script while shooting out of sequence. Film set terminology and etiquette are also addressed. Students collaborate in a supervised Production Workshop with film students, which is a full-immersion production approach to Acting for Film instruction.

TECHNIQUE & SCENE STUDY II

Acting Technique & Scene Study II continues the exploration of relaxation, sensory awareness, and creative choice-making and individual performance elements in exercises designed to enhance students’ ability to synthesize their own practical techniques for performance on screen or stage. This course will increase the Actor’s awareness of their instrument. They will also develop their ability to focus their attention and create detailed and vibrant imaginative worlds. The student will learn the value of observation and replication in character work, and have an increased awareness of real and imagined stimuli to create points of concentration to ground their performances in the given circumstances of their acting work. Students will learn to extract given circumstances from the text, to create strong objectives and to use active verbs to create vibrant performances. Emotional preparation will be more deeply explored and students will further understand the concept of a personal process. Exercises may be taped for in-class critique and evaluation. They will perform in a taped live presentation for an audience at the end of the semester.

SEMESTER THREE

ACTING FOR FILM II

This course teaches intermediate Acting for Film skills necessary for creating a fully-realized performance. On a weekly basis, students will prepare a script and digitally tape the scene. Students edit their own exercises and scenes to better understand how the mechanics of a performance effect the final edit. Edited exercises and scenes will be screened for critique in class. Students will also do pre-production prep in class, as well as rehearse final scenes for an on-location shoot. Students will be intensively involved in production as well as acting throughout the shoot days.

TECHNIQUE & SCENE STUDY III

Students learn how to assess the needs of the scene through application of text analysis, inhabiting given circumstances, development and pursuit of strong objectives, incorporation of voice and movement training and technique, breaking text into beats and making strong choices, moment to moment communication with scene partner, and the give and take between scene partners throughout the scene. Performance will be taped in a live presentation at the end of the semester.

SEMESTER FOUR

ACTING FOR FILM III: SCRIPTED TV

This course introduces the concepts and skills students need for today’s sitcom shoot. The instructor will work with the class to determine casting needs and a full or partial comedy script will be chosen to accommodate the class. There may be double casting involved. There will be in-class comedy TV shoots in which students assist with crew positions when not acting. The aim of this course is to have the actor experience the acting and production techniques used in today's television sitcom, both the multi-camera and single-camera format. Emphasis is on students gaining practical experience in this genre of on-camera acting so that they will be prepared for the pacing, tone and adjustments necessary for today’s professional TV actor. Students will shoot a full or partial sitcom episode, teaching them the techniques of a traditional multi-camera and single-camera set.

IMPROVISATION

Improvisation encourages students to skillfully nurture their instincts and freely release their creative impulses through a variety of individual and group exercises.

TECHNIQUE & SCENE STUDY IV

This course will allow students to continue to explore their acting and technical skill through studying an advanced and in-depth level of one acting technique for an entire semester. It is a regimented course that could explore but is not limited to the acting techniques of: Stanislavski, Chekhov, Strasberg, Hagen, or Meisner. Upon studying the techniques, students will then apply the skills to text. The course will culminate in an in-class presentation at the end of the semester.

SEMESTER FIVE

TECHNIQUE & SCENE STUDY V (PERIOD STYLES)

This course will explore acting techniques for heightened language and period styles with an emphasis on effective vocal/rhetorical techniques and on the use of poetic rhythm and imagery in creating a role psychologically as well as physically. The course will explore the definition of style/language analysis, Greek period style, the comic impulse in Commedia Dell’arte, Comedy of Manners and Theatre of the Absurd.

WRITING FOR ACTORS

Students learn sound writing principles and apply them to creating a variety of scripted projects. Multiple writing exercises are designed to spark the creative process. Actors refine their work through multiple rewrites, focusing on character-driven pieces.

VOICE-OVER

Students will learn the highly specialized skill of voice-over acting. They will discover what kind of voice-over work they are most suited for and learn how to use their voice in different ways. They will also get information about job opportunities available in this field and have an opportunity to create their own voice-over material during a final recording session in one of NYFA’s professional studios.

SEMESTER SIX

PERFORMING SHAKESPEARE

This is an actor’s course for performing Shakespeare. As realistic/film actors, students will learn to evaluate what the language is doing and the action that is implied. Students will develop the fundamental concepts of scansion, meter, text analysis and scene study as it pertains to the demands of performing heightened language. Performing Shakespeare will guide them to further development of the vocal and physical dexterity demanded by the text. The course will culminate in either a taped and/or live performance of Shakespeare’s works — sonnets, monologues, soliloquies and/or scenes from his various plays.

ACTING FOR FILM IV

This course teaches advanced acting for Film skills necessary for creating a fully-realized performance over the course of a short film. Students will shoot the script prepared in stage-to-screen rehearsals, which will be digitally taped for students to receive critique and adjustments from the instructor. Students will also do pre-production prep in class as well as rehearse an entire short film for shoot. Students will be intensively involved in production as well as acting throughout the shoot days. This final filmed project will be screened at graduation.

BUILDING THE REEL

An overview of the basics of digital editing. Students will learn by experience exactly what is needed to match shots, which will help them understand how to tailor their performances accordingly. Students will also work on building their own acting reel for industry submission, as well as creating an academic reel required for their thesis at the end of the program.

SEMESTER SEVEN

NEW MEDIA

The New Media course introduces students to the new media landscape and presents an overview of the tools that can help students take control of their careers. Each student will create, pitch, and write a “pilot” for a scripted webisode. The pilot scripts should not exceed five pages, and will be accompanied by a blueprint for a pitch package, or “bible,” that will outline future episodes for a completed series, and introduce the world that the show will create on the web. The class is broken down into both lecture and workshop, where students will present material for the new media concept and project.

PLAY PRODUCTION WORKSHOP

Initially, students work on basic performance skills through individual and ensemble exercises in acting, voice and speech, and movement. Students expand on basic performance skills with an emphasis on the actor’s approach to text, intentionality, and motivation. Objectives, obstacles, and tactics used in realizing physical actions in performance will also be explored through the director-actor relationship in rehearsal. This course focus is on the practical dynamics of the director-actor relationship, and the students serve as members of an acting ensemble. The course culminates in the taping of a full-length theatrical performance in front of a live audience, with material chosen from a variety of published plays.

ADVANCED VOICE & MOVEMENT: CHARACTERIZATION FOR THE STAGE

In this advanced voice and movement course, students will focus on creating well-developed and fully-realized characters to be performed in the Play Production Workshop course. Students will begin this course by learning how to create characters based on archetypes and circumstance. They will then progress to connecting the learned techniques and tools to the script and characters of the Play Production Workshop course. As both courses move towards the mounting of the live performance, this course will focus on students taking the familiarity of the vocal and physical characterization they have created into the final stages of rehearsal. Having now explored and solidified well-developed characters, students will be able to bring a deeper, more heighten degree of variety of characterization into their performance.

SEMESTER EIGHT

FINAL PROJECT

Students will have the opportunity to create their capstone project in this course, which will include both a creative project and substantial supporting written documentation. The Final Project will consist of the research of a historical figure that has significance to the actor, a self-written/performed monologue based on the character's pivotal moment, and a critical essay regarding the actor's statement of purpose and the creation of a character from inception to performance. The class will be composed of discussion of the character's cultural influence, exploration of the pivotal moment, creation of the actor's statement of purpose, and the performance of the monologue, which will also be filmed and screened for critique.

INDUSTRY SHOWCASE

In preparation for their final showcase students work on advanced scenes, furthering their development in emotional availability, personalization, and urgency in performance. They are encouraged to explore more intense and emotionally deeper material, choosing scenes that expand their characterization work. This course will culminate in a live showcase of scenes for industry and an invited audience.

BUSINESS OF ACTING/AUDITION TECHNIQUE

This course teaches advanced business of acting skills to students on the verge of graduating with a BFA in Acting for Film. Students will create a business plan, which includes research on headshot photographers, writing resumes, researching and targeting appropriate agencies and managers, understanding basic contracts, and industry standards — as well as honing auditioning skills for today’s industry. Students will put together a professional portfolio which will include their headshot, resume, and demo reel. In addition, students will develop their cold reading and auditioning skills through weekly drills of mock, on-camera audition situations. Work will be viewed and critiqued weekly with the aim of preparing students to enter today’s highly competitive industry.

ELECTIVES

Electives are subject to change and are offered based on demand and teacher availability.

SKETCH COMEDY

This workshop is designed for actors with comedic improvisation experience who are interested in writing and performing sketch comedy. Each class will involve instruction on the variety of ways sketch comedy is created, using improvisational comedy to bolster the writing process and brainstorming to help each student discover their unique comic voice. Students will perform in a semester-end sketch show, to be both taped and performed in front of a live audience.

CONTEMPORARY DANCE

This course will provide an opportunity for students to experience a variety of dance styles and choreography inside and outside the parameters of western contemporary dance. Students pursue weekly research and movement-based activities that explore a range of choreographic themes.

STUNT WORKSHOP

This course is designed to develop the specialty skills and techniques of stunt work with specific emphasis on film combat. The students will focus on the awareness and development of body mechanics as a tool for the actor through emphasis on stage fighting, circus skills, stage stunt work, and complex on-camera combat techniques and choreography. This course also includes an instructional component where the students choreograph their own staged fight scenes.

SINGING FOR ACTORS

This course offers actors the opportunity to experience the techniques and joy of singing in order to feel comfortable and competent in an audition or on set. This is a voice workshop, not a performance workshop. The skills practiced are intended to create expressive freedom in a musical environment.

ADVANCED STAGE PROJECTS

This course is an individualized project-based curriculum culminating in a taped live performance for an audience. The scope of learning includes creating and developing a theatrical performance. The course is an exciting open-ended acting-based course. The student will synergize all of the methodologies and skill sets developed in their other acting courses. The productions may include and are not limited to the exploration of certain playwrights and the demands of those particular texts, ensemble work, devised theatre, or one-person show development.

ENTERTAINMENT LAW

This course is an overview of basic entertainment law and how it affects actors, the business of acting, and basic content creation. Acting students will study legal issues that affect actors and content creators in television, film, recordings, live performances, and other aspects of the entertainment industry.

Dates & Tuition

Fees Per Semester

Tuition: $12,796 (USD)



Location & Available Dates

For Los Angeles:
January 2017 - September 2019
May 2017 - January 2020
September 2017 - May 2020
January 2018 - September 2020
May 2018 - January 2021
September 2018 - May 2021

For South Beach Florida:
January 2017 - September 2019
September 2017 - May 2020
January 2018 - September 2020
September 2018 - May 2021



Please note: Dates and Tuition are subject to change

Faculty

Lynda Goodfriend Lynda Goodfriend
Chair of Acting

BFA, Southern Methodist University. Studied with Lee Strasberg. Veteran of Broadway and Off-Broadway productions. Series regular on “Happy Days,” “Who’s Watching the Kids,” and “Blanksy’s Beauties.” Feature film roles in “Pretty Woman,” “Taxi Driver,” “The Front,” “Beaches,” and “Nothing in Common.”

Christopher Cass Christopher Cass
Associate Chair for Acting for Film Studies

BA in Theatre, University of Georgia. NY and LA credits include “Rounding Third,” “Jerusalem,” “Gaining Ground,” “RFK” (Off-Broadway), “Sleepwalk,” “Born in the RSA,” “Much Ado” (Central Park), “Henry V” (Off-Broadway) and “Macbeth.” Television credits include: “ER,” “Like Family,” “Tucker,” “Fired Up,” “Cedric the Entertainer,” “Night Court,” and many more.

Miguel Cruz Miguel Cruz
Associate Chair

BA in Economics from University of Madrid and also a Fulbright scholar. Miguel Cruz is a TV and Film director with credits in almost 200 TV episodes on several formats and genres, including two seasons of the #1 Spanish Sit-Com "Aida" and the Emmy winning "Caiga Quien Caiga". He has recently directed and produced "Vulnerable" an independent feature film widely distributed in Spain and Latin-America.

Denis McCourt Denis McCourt
Associate Chair for Performance Studies

MFA in Acting, University of Florida and BA in Acting, University of South Florida. Adjunct Professor, Long Beach City College; Professor, University of Florida; Co-artistic director, Long Beach Shakespeare Co. Artistic Director/ Founder at Public Theatre of Southern California. Performed in Plays including The Cherry Orchard, Hamlet, Angels in America. Opera Musicals like Die Fledermaus, Cabaret and Fiddler on the Roof.

Anne Moore Anne Moore
Associate Chair for Departmental Programming

BA, Fordham University at Lincoln Center. Moore is an actress/director/producer who studied Meisner at William Esper Studio in New York City. Her credits include “Grey’s Anatomy,” “Sex in the City,” “Law & Order,” and “Good Intentions,” and numerous off-Broadway and sketch comedy credits. Award-winning documentary filmmaker with her short Czech Daze.

Louis Gossett Jr. Louis Gossett Jr.
Special Lectures, Master Classes

Winner of an Academy Award for his role in Officer and a Gentleman, and winner of two Emmys and two Golden Globes. Over 150 film and television acting credits, including memorable roles in A Raisin in the Sun, Iron Eagle, Toy Soldiers, and Blue Chips.

Kenneth Lerner Kenneth Lerner
Business of Acting, Scene Study

BA, Brooklyn College. Appearances on over 40 films and 100 television shows, including “The Mentalist,” “NCIS,” “In Plain Sight,” “Two and a Half Men,” “Desperate Housewives,” “Castle,” “Weeds,” “CSI,” “Without a Trace” and “Buffy The Vampire Slayer.” Starred in productions at Pasadena Playhouse, Falcon Theatre, and Off-Broadway.

Arden Kaywin Arden Kaywin
Speech, Singing for Actors

M.Mus. Manhattan School of Music, B. Mus. Oberlin Conservatory. San Francisco Opera, Opera Theater of St. Louis, B.A.M., Aspen Music Festival. Vocal coach and vocal producer to artists from American Idol / X Factor / Radio Killa / Interscope / MySpace Records / Kidz Bop / ZVision Records. Songwriter and recording artist with songs featured in numerous TV shows on NBC, ABC, MTV, The CW, OWN, Discovery Channel, Bravo and Lifetime. Custom music for commercial spots for Michael Kors, Meow Mix, Boston Children’s Hospital, and Coke Life.

Robert Allan Ackerman Robert Allan Ackerman
Master Classes, Scene Study

Director of Emmy, Golden Globe, DGA, AFA, and SAG Award-winning films including “Safe Passage,” “The Ramen Girl,” and “Life With Judy Garland: Me And My Shadows.” Director of Broadway productions including “Bent,” “Slab Boys,” and “Extremities.” Director of West End productions including “Torch Song Trilogy,” “Burn This,” and “Our Town.”

Matthew Bamberg-Johnson Matthew Bamberg-Johnson

MFA in Acting from California Institute of the Arts and BA in Theatre and Dance from Trinity College in Hartford, CT. He is the co-artistic director of the immersive entertainment company, "The Speakeasy Society," where he appeared in Ebenezer and The Johnny Cycle. Film credits include Any Bullet Will Do.

Joe Basile Joe Basile

MFA in Film from UCLA and BA from University of Delaware: concentration in Screenwriting. Award Winning Director and Filmmaker. His film West End won over 10 awards in various film festivals including Best Feature Film, Best Director and Best Screenplay. As an actor has appeared in over 30 television shows such as Prison Break, Criminal Minds, Desperate Housewives, CSI and The X-Files and 20 films such as Terminator Salvation, GIA, Primary Colors and Crime of the Century.

Walter Belenky Walter Belenky

MFA from the University of California, San Diego and BA from Colby College; The Hotchkiss School. His credits include: Television: "Law and Order: SVU," "The Good Wife," "Person of Interest," "One Life to Live" Film: Away From Here; Wash; They Made America; Stuck On You; Broadway: Tony Award Winning Production of "Vanya and Sonia and Masha and Spike" Theatre: George Street Playhouse, La Jolla Playhouse, Huntington Theatre.

Michael Bershad Michael Bershad
Business of Acting, Acting Technique

BA, Criminology, University of MD. Trained with Stella Adler, Michael Shurtleff, David LeGrant. Series regular, 2 seasons, "Capitol". Theatrical Agent with Stephan Gray Artists. Casting: Glenn Larson Prods, White Eagle Prods (Sylvester Stallone). Cable Ace Awards Judge, 5 years. Produced 3 films, including the feature, "Dispatch" (Netflix, Amazon), which he also wrote and starred in.

Andrew Bloch Andrew Bloch
Acting for Film

MFA in Acting and Directing, California State University, Long Beach; BA in English Literature, Middlebury College. Director and Actor in Broadway and off-Broadway productions including a costarring role with Dustin Hoffman in DEATH OF A SALESMAN as Happy Loman. Dozens of TV appearances from Barney Miller, Mash, to Southland and Ray Donovan. Also Steven Seagal's HARD TO KILL.

Jennice Butler Jennice Butler
Speech, Voice & Movement

MFA in Acting from UC Irvine and BS in Theatre from University of Evansville. McDonald’s Commercial: “Main Event”; Lead in comedic web series, “How to Fake it in America & Car Jockeys”.

James R. Carey James Carey

MFA in Theatre Management, California State University – Long Beach. As a director, his credits include award winning productions of The Elephant Man and All My Sons, and the world premiere One Acts by Lee Blessing and Jeffery Hatcher. Has served as the Producing Artistic Director of the ATTIC Theatre located near Culver City since 1987, where his productions have won numerous awards.

Philip Casnoff Philip Casnoff

Nominated for a Golden Globe Award portraying Frank Sinatra in the Golden Globe winning film Sinatra. Credits include E.R., Frasier, How Stella Got Her Grove Back, Strong Medicine and Oz. Also directed episodes of Monk and Strong Medicine.

Mary Cobb Mary Cobb
Shakespeare

BA in Theatre Arts, San Diego State University. Los Angeles stage work includes Richard II and Richard III at the Uprising Theatre Company, As You Like It with the Los Angeles Women's Shakespeare Company, and Gertrude Stein in Hell at the Actors Art Theatre.

Joshua Coleman Joshua Coleman

MFA in Theatre from UCSD and BA in Psychology from John Hoffman University. He worked at The Guthrie Theater, Actor's Theatre of Louisville, Oregon Shakespeare Festival and the La Jolla Playhouse. Roles include: Macbeth, Lysander, Angleo and Iago in Shakespeare’s great works. Film/TV credits include: "How to Get Away With Murder", "The West Wing", "Scandal" and "Grey’s Anatomy".

Merrilyn Crouch Merrilyn Crouch

MFA in Theater, University of Southern California. Hundreds of credits as an actress, voice over and writer/director for commercials and network promos. Narrated the film history documentary series: “Cinema in Focus” hosted by Peter Bogdanovich, as well as the PBS’ educational Documentary series “The Way We Live”. Merrilyn can be seen on the Food Network’s Good Eats in the recurring role as Alton Brown’s sister, Marsha.

Jean Claude Deering Jean Claude Deering
Technique, Scene Study

BFA, NYU’s Tisch School of the Arts. Film and TV credits include “The Ugly Truth,” “The Land of the Astronauts,” "Entourage," "Inside the Box" (pilot for ABC), "Hawthorne," "Criminal Minds," and "North Palm Wrestling" (MTV). Worked as business development intern for Sony Pictures and Screen Gems, and as a copywriter for Chiat/Day.

Maria Del Bagno Maria Del Bagno
Dance

Graduate of the American Academy of Dramatic Arts, apprenticed under renowned master choreographer, Jaime Rogers, and the “Father of Jazz Dance,” Luigi. Over 25 years of experience as a dance instructor. Named one of L.A.’s top choreographers by L.A. Jazz Dance Foundation.

Debra Dragotto-Parker Debra Dragotto-Parker
Acting Technique, Text Analysis, Writing for Actors

MFA in Screenwriting, UCLA; BFA in Drama; Hofstra University. She has worked for and with top industry executives Mark Burnett, Dick Clark and Mark Walberg. Studied acting and directing at the renowned Lee Strassberg Institute in New York City. She studied Shakespeare at the acclaimed London Academy of Dramatic Arts. She has been honored twice with highly coveted Drama-Logue Awards for Stage Direction. She produced TV series like No Boundaries, Friends or Lovers and Lover or Loser.

Bruce Ducat Bruce Ducat
Acting for Film, Acting Technique

BFA in Theatre Performance: Directing, Concordia University, Montreal. Acting and dialogue coach on multiple television series and feature films. Has coached Julie Andrews, Chris Farley, Rider Strong, Larisa Oleynik, Jennie Garh, Laura Kightlinger, and many more.

Lawrence Dwyer Lawrence Dwyer

MFA in Theatre Arts from Mason Gross School of the Arts, BA from University of Nevada Las Vegas, Rutgers University. Lawrence is an actor/producer/director/writer who studied acting with William Esper and Lloyd Richards. He is the co-creator of and formerly head-acting teacher at The Paul Sorvino Meisner Intensive Acting Studio. His credits include “Guns, Girls and Gambling”, “Passions”, and the Crossroads Theater production of “Fortinbras”. He is also a producer of the feature film “Beneath the Leaves” starring Academy Award winning actress Mira Sorvino.

Tim Fannon Tim Fannon

MFA in Acting, Brooklyn College; BS in Theater, Skidmore College; trained at the Royal National Theatre and the British Academy of Dramatic Arts in London. Extensive stage experience and commercials; film and television roles include “Kidnap”, “Bar Flies”, “After I’m Dead”, and “Review with Forrest MacNeil”. Founding member/artistic director of Fovea Floods Theater, and company member of Moving Arts.

Bob Garrett Bob Garrett

BA Theatre Arts Adelphi University. Actor on Broadway in seven shows, Recording Artist A&M Records, Television and Theatre Writer and Director including. NAACP for Rain Pryor's Fride Chicken and Latkas. Vocal coached film and pop stars from Jessica Lange to Katy Perry as well as TV shows such as American Horror Story, Life with Judy Garland and Gimme a Break!

Genevieve Gearhart Genevieve Gearhart

MFA in Acting, California Institute for the Arts; BA in Dance and Theatre, Manhattanville College. Her work has been seen at the Getty Villa, REDCAT, the Ohio Theater, the Edinburgh Fringe Festival, the Williamstown Theater Festival, and several found spaces in Los Angeles and New York. She serves as Co-Artistic Director for The Speakeasy Society.

Ros Gentle Ros Gentle

BFA, National Institute of Dramatic Art, University of NSW, Australia; Diploma in Teaching, Balmain Teachers' College of Advanced Education, Sydney. An actress of 40 years with teaching experience at NIDA, Actors Center, Joanne Baron/DW Brown Studio, and Australian Institute of Dramatic Art.

Cathy Giannone Cathy Giannone
Scene Study, Meisner

BFA from Strasberg Institute at NYU. Lifetime member of Actors Studio. Has taught at Artist Theatre Group and Third Street Theatre. Recipient of two Drama Circle Awards and four DramaLogue Awards. Cathy Giannone is known for her work on The Bogus Witch Project, CB4 and The Little Rascals Save the Day.

Maria Gobetti Maria Gobetti
Acting Technique, Scene Study, Meisner

MA and BA in Theatre, UCLA. Artistic Co-Director at The Victory Theatre Center, with over 80 directing credits. Maria directed the critic’s choice world premieres of Jon Klein’s Suggestibility and Wishing Well. She also directed and produced the critic’s choice production of David Mamet’s Oleanna; the world premieres of American Iliad by Donald Freed. Maria was the 1992 recipient of Women in Theatre’s Outstanding Achievement In Theatre Award.

Miraj Grbic Miraj Grbic

BFA in Acting, Academy of Dramatic Arts University of Sarajevo, Bosnia and Herzegovina. Performed in more than 60 plays from such authors as Shakespeare, Moliere and Camus. Starred in 40 Feature Films an TV Shows, including “Mission Impossible Ghost Protocol” and “The Hunting Party” among others.

Isabella Hoffman Isabella Hoffman

BFA in Theatre & Music from Columbia College Chicago. Over 75 credits in film and television, including Golden Globe winning series “Dear John” and “Burlesque.” Other notable credits include “Curb your Enthusiasm”, “Boston Legal”, “Jag”, “Firefly”, and “Providence.” Recipient of the Joseph Jefferson award for best Actress in a Principal Role in "Teibele and Her Demon.”

Travis Holder Travis Michael Holder
Scene Study, Playwrights / Screenwriters, Monologues

Pasadena Playhouse College of Theatre Arts; Goodman Theatre at University of Chicago, trained with Uta Hagan, Stella Adler, and Kenneth McMillan. Five plays produced nationally. Veteran of six Broadway productions and numerous national and international tours. Honored with the LA Drama Critics’ Circle Best Actor Award. Prominent theatre critic since 1987 for such publications as Back Stage, Entertainment Today, and ArtsInLA.

Jack Huang Jack Huang
Stage Combat, Stunt Workshop

MA in Commercial Music, CSU Los Angeles; BM in Classical Violin Performance, UCI; Certificate in Film Scoring, UCLA. He was the teenage martial arts champion in nunchucks in Taiwan, the Taiwan government-selected martial artist for the US performance team of 1983, and then, the World Cup Middle Weight Champion at the 1987 Los Angeles Open.

Phil Kaufman Phil Kaufman

MFA in Acting, Yale School of Drama; BA in Drama, Dartmouth College. TV appearances on “Law and Order”, “Harry’s Law”, “The Mentalist”, as well as many commercials. Director of several short films, including pilot presentation, “Intelligence” and upcoming web series, “Send Me”.

Eddie Kehler Eddie Kehler

Two year Meisner graduate with Maggie Flanigan. Studied with Wynn Handman. Actors Studio member/Board of Directors. Acting professionally from NYC to LA television, film and stage. Including; Dexter, Criminal Minds, Ally McBeal, Southland, Desperate Housewives.

Suzanne Kent Suzanne Kent
Scene Study, Comedy & Improvisation, Monologues, Voice

Founding company member of The Groundlings Theatre Company in Los Angeles and created the Sunday Company program at The Groundlings. Over 30 feature film credits, including “Middle Men,” “Honey, I Blew Up the Kid,” “Nuts,” “The Boost,” and “History of the World: Part I”. Television series regular roles on “Pee-wee’s Playhouse,” “St. Elsewhere,” “The Garry Shandling Show,” and “Brotherly Love.” Voice actor on “Rugrats,” “The Wild Thornberrys,” and “Rocket Power”.

Carol Lefko Carol Lefko

BA in Radio-Television from University of Arizona. Worked at CBS under Casting Directors, Lea Stalmaster and Jean Guest. Carol has been casting Feature Films, Television, Commercials and Theatre for over 30 years. Her credits include Nike, Quaker Oatmeal and Coca Cola. She has also cast dozens of Television Movies-Of-The-Week and Mini-Series.

Joseph Limbaugh Joseph Limbaugh

BA in Drama from University of Portland. Directed, performed in, and created hundreds of improvisational shows including Cartoon Overlord, Scandal, Dark Gables, Course Correction, Rue de Monsters, Camenot, Politico! After School Specials, and many more. He was the head writer of Hollywood Saturday Night and runs the sketch and improv program for the ACME Comedy Theatre.

Robert Lipton Robert Lipton
Tech, Scene Study, Text Analysis, Monologues, Method Acting for Film

Trained with Stella Adler and Lee Strasberg, graduated Neighborhood Playhouse program. Over a dozen feature film roles, extensive stage experience, and multiple television appearances, including “Judging Amy,” “The Practice,” and “The X-Files.” Recurring roles on “One Life to Live,” “The Young and the Restless,” and 6 years on “As the World Turns.”

Alexis McNab Alexis MacNab

MFA in Directing for Theater, California Institute of the Arts; BA in Theater, Oberlin College. Original works have been produced in New York, Chicago, Los Angeles, Ohio, and at the Edinburgh Festival Fringe with her critically acclaimed clown cabaret, “Hôtel de l'Avenir” and her multi-media adaptation of Nabokov's, “Gods”.

David Matalon David Matalon

BFA in Film & TV with emphasis in Writing/ Directing from NYU Tisch. Writer/ Filmmaker with more than 18 optioned screenplays, 5 short films and 6 stage projects to his credit. WGA member. On Hollywood's Hit List for hottest specs, sold 2-hour pilot to the SyFy network & UCP.

Michael Mccartney Michael Mccartney
Acting for Film

BS in Theatre from Skidmore College. Actor, writer, producer, designer, and teacher who has worked extensively in film, theater and television. Acting film credits include “Amazing Spiderman,” “Dealing,” “A Telephone Call,” “Neal Cassady,” “Confess,” “Bringing Rain,” and “Halloween Resurrection.” Television credits include Conan O’Brien, Law & Order, Conviction, and The Office. His screenplay for “The Wreckage” was a Quarter Finalist for the 2009 Nicholl Fellowship.

George Mcgrath George McGrath
Comedy & Improvisation, Acting for the Camera, Voice

Performed with the Groundlings in Los Angeles from 1983 – 1992. He co-wrote the Paramount film “Big Top Pee-wee,” and created and starred in Nick-at-Nite’s first original series, “On the Television,” which he also co-executive produced. He had a recurring role on HBO’s “Tracey Takes On,” a series he also wrote and produced.

Kellynn Meeks Kellynn Meeks
Voice and Speech, Movement

MFA in Acting, Penn State University, BFA in Acting, University of Minnesota Duluth. Lessac Certified Trainer. Studied under Arthur Lessac. Performed extensively with Los Angeles Women’s Shakespeare Company. Commercial and television credits including “The West Wing.” ABC Digital’s “Boondoggle”.

Marc-Ivan O'Gorman Marc-Ivan O'Gorman

MFA in TV, Radio and Film, Syracuse University; BFA in Arts, Communication, Trinity College Dublin. Founder & director of The Irish Film Festival of India, Taylorfest & Cleverality Productions. He has produced and directed various TV commercials in Ireland & India, as well as written & directed a feature film (Black Magic) and a number of award winning short films (Trick or Treat, Infected City and Other).

Corey Pepper Corey Pepper
Comedy & Improv, Sketch Comedy

BA, SUNY at Binghamton. Founding member of National Lampoon Players, studying improv with Chris Barnes and Michael Haggarty. Graduate of Warner Bros. Comedy Writers program. Thirty years experience as actor, writer, comic and teacher. Has appeared in such projects as “Studs Lonigan” for NBC, and “The Quickening” for A&E.

JP Pitoc JP Pitoc

BFA in Drama from NYU Tisch School of the Arts. JP was honored with SAG’s award for “Outstanding Performance by an Ensemble” for his recurring role in the acclaimed HBO series Six Feet Under. As a voice-over actor, he narrated the long-running series ET on MTV, has voiced national TV commercial campaigns and radio spots, and worked in video games, motion capture and animation.

Lee Quarrie Lee Quarrie

MFA in Theatre, Arizona State University. Lee toured nationally as Glenda and Auntie Em in The Wizard of Oz with American Family Theatre. Her original film, "Patchwork Dreams" is a grand prize winner of the 2013 Beijing International Screenwriting Competition.

Julio O. Ramos Julio O. Ramos

MFA in Film Directing and Production from UCLA; BA in Journalism from Universidad San Martin de Porres (Peru). Julio is the Writer/Director of "A Doctor's Job" and "Behind the Mirrors," films that were showcased in Telluride, Camerimage and CFC WorldWide, awarded with top prizes at Palm Springs ShortFest, Nashville and La Habana. He is an Alum of the Berlinale Talent Campus.

Keiana Richard Keiana Richard

MFA from The University of California, San Diego and BA from The University of Tennessee, Knoxville. She was a Tennessee Arts Grant Recipient as well as the Graduate Fellow Recipient at UCSD. Her credits include Broadway: Dividing The Estate produced by Lincoln Center, Off-Broadway: Ghosts, The Pearl Theatre Company and Forgotten World at The Public Theatre, and T.V: The Player on NBC and Delocated on Adult Swim.

David Robinette David Robinette
Acting Technique, Acting for Film, Monologues

MA in Performance Theory/Playwriting, California State University, Northridge and BA in English/Creative Writing, Hunter College. Television actor with appearances on “The Young and the Restless,” “Law & Order,” “As the World Turns,” and “All My Children.” Film role in “Cry Funny Happy,” Official Selection at Sundance.

George Russo George Russo
Scene Study, Acting Technique

Studied at George Morrison Studios, HB Studios, and The Actors Studio. TV credits include Bonnie Hunt, NYPD, Luck, Dirty People; Teaching experience with Julia Bavasso Studios, Chamber Theatre, Third Street Theatre, and Varick Street Studio.

Mary Sala Mary Sala

MFA in Performance from New York University’s Tisch School of the Arts and is a Certified Lessac Kinesensic© Trainer, currently serving as President of the Lessac Training and Research Institute. She is a professional actor, voice over artist, author and has taught theatre, acting, voice, speech and movement for a combined 32 years.

Elena Sanz Elena Sanz

MFA from the Royal Central School of Speech and Drama in London and was awarded a Fulbright Scholarship in Performance to continue her training in New York where she attended the Atlantic Acting School. She has worked in film, theater and television both in Europe and the US.

Deena Selenow Deena Selenow

MFA from California Institute of the Arts and BFA from NYU Tisch School of the Arts. Directed projects both in Los Angeles and New York including: LA- REDCAT, Company of Angels, LACMA, CalArts; New York- Dixon Place, Gene Frankel Theatre, NYU. She is the Recipient of the New York Theatre Workshop Emerging Artist of Color Directing Fellowship.

Gilbert Shilton Gilbert Shilton

35 years in the film and television industry, with directing credits including “Law & Order”, “MacGyver”, “Beverly Hills 90210”, “Quantum Leap”, “The A-Team”, “La Femme Nikita”, “The Twilight Zone”, “Magnum P.I.”, and “Knight Rider”. Has written and sold scripts for features, pilots, and episodic television, while also working as a producer on several television series.

Carol Stanzione Carol Stanzione

BFA in Acting, New York University Tisch School Of the Arts/Strasberg Institute. Acting credits include “Orange Is The New Black”, “Side Effects”, “Deliver Us From Evil”, Eminem's "Stan" music video and the west coast premiere of “The Manchurian Candidate”, as well as many radio commercials and animated series. Has cast, directed and produced over 200 voiceovers for TV, film and radio.

Riley Steiner Riley Steiner

MFA in Shakespeare from Mary Baldwin College, BA in Theatre Arts from Mary Baldwin College, studied with Uta Hagen at HB Studios, and trained at the American Conservatory Theatre, San Francisco. Television credits include General Hospital, NYPD Blue, Civil Wars. On stage in New York, When the Young Wine Blooms with Celeste Holm, and Ophelia in Hamlet, directed by Sir Anthony Hopkins.

Richard Steinmetz Richard Steinmetz

Worked off Broadway in New York for ten. His list of film, TV and voice-over credits include a series regular role on General Hospital.

Eric Stevens Eric Stevens

Theatrical agent for over 25 years. Established own agency, Rainbow High Entertainment, in 2006; in January 2013, the company transitioned to Artists Management and Production.

Tyler Stillwell Tyler Stillwell

MFA in Acting from Penn State University and BA in Acting/ Design from University of Northern Iowa. Artistic Director- Black Hawk Children's Theatre, Waterloo, IA 2003-2009. Instructor of Voice & Movement, Greek Theatre, Directing and Acting (Meisner Method) and Theatre Arts History at the University of Northern Iowa. Actor, Iowa Shakespeare Festival.

Melissa Sullivan Melissa Sullivan
Acting for Film

BFA in Theater from California Institute of the Arts. Artist in Residence, University of Las Vegas. Acting film credits include: Finding Red Cloud and The World of Tomorrow. TV credits include: E.R., Hawthorne, Dragnet. Theater credits include: James Joyce’ The Dead, The Interview, Tennessee William’s Mr. Paradise, Albee’s Who’s Afraid of Virginia Woolf.

Yoshie Taniguchi Yoshie Taniguchi
Stunts, Stage Combat

BA in Physical Education, Tokyo University of Woman Physical Education; Conservatory, Sho Kosugi Hollywood School. Instructor of Tai Chi and Japanese swordsmanship.

Cle Thompson Cle Thompson
Acting for Directors, Accent Reduction

BA in English, Beloit College. Extensive acting experience in off-Broadway productions, national tours, and feature films including A 2nd Before Hell Freezes Over, VS, Funny Valentines and Beyond the Blue. She has worked with legendary film composer/arranger Elmer Bernstein, sung in clubs from New York to Los Angeles.

Matthew Toronto Matthew Toronto

MFA in Directing from Penn State University and BFA in Musical Theatre from University of Michigan. Director, writer, and producer of film and theatre. Feature film, “The Pact”. Acting experience includes national tours, regional theatres and 5 seasons as a dancer alongside the Rockettes in the Radio City Christmas Spectacular.

William Watterson William Watterson

BA from Brown University and is a graduate of The Second City Hollywood Conservatory and he has also trained at UCB Los Angeles. He directed and co-wrote the adventure comedy Dave Made A Maze, a feature film starring Nick Thune and James Urbaniak. He performed motion capture and voice over for the video games LA Noire and Lost Planet 3; appeared in the films Ouija, Jenny's Wedding, and Clint Eastwood's Jersey Boys; and TV credits include Brooklyn Nine Nine and The Soul Man.

Dig Wayne Dig Wayne

Trained in London at the Lee Strasberg Studio. He was cast in the lead role in the musical 5 Guy's Named Moe in London's West End which won an Oliver Award for best musical. His most notable role in Los Angeles has been as Gabriel in the Actors Studio project of August Wilson's Pulitzer Prize winning play, Fences. Dig was nominated for an Ovation Award and won a NAACP Theatre Award for supporting actor in 2007.

Cliff Weissman Cliff Weissman
Acting for Directors, Acting Technique

BA in Theatre, Brooklyn College. Professional actor with guest star and recurring roles on “NCIS,” “CSI: NY,” “Criminal Minds,” “24,” “Beverly Hills 90210,” and more. Acting and instructor and audition coach for over 25 years.

Alan Woolf Alan Woolf
Scene Study, Text Analysis, Monologues

MFA in Acting from NYU Tisch School of the Arts, BA in English from University of Rhode Island. Acted in over 175 theatrical productions. TV appearances include “Airwolf,” “The Medium,” “The Practice,” “Dragnet, L.A.,” and “Melrose Place.” Features include “Air Force One,” “The Rat Pack,” John Grisham’s “The Rainmaker,” “Smithereens.” Past president and board of directors of both Actors Alley Repertory and Theatre East.

Michael Zelnicker Michael Zelniker
Acting for Film, Acting Technique

BA in Theatre from Dawson College's Professional Acting Program. Michael is an award winning actor and filmmaker. His film credits include the roles of Red Rodney in Clint Eastwood's "Bird" and the role of Allen Ginsberg in David Cronenberg's "Naked Lunch". On stage in plays he has performed from Shakespeare to David Mamet.

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