How To Choose Suitable Acting Classes For You

Acting comes from Latin, more precisely from the verb actuare, which in turn comes from a previous verb: agere, which can be translated as “to do.”

Acting is the action and effect of the acting (to put into action, to assimilate, to exercise functions, to act or produce a result). The term is usually used to name the staging performed by an actor (a person who plays a role in theater, film, television, or other media).

Acting is one of the oldest artistic expressions of humanity. Some historical records indicate that it originated in ancient Greece in the year 534 BC. Hundreds of years later, the art became professionalized in Europe during the 16th century, specifically in Italy, with the appearance of the first professional theatrical companies of Commedia dell’Arte. In later years, during Queen Elizabeth’s monarchy, the Chamberlain’s Men would emerge in England, led by the icon of literature and theater, Shakespeare.

Before we start with an extensive list of schools, academies, and places dedicated to la acting classes, it is worth giving you some tips when studying for a career in theatrical art.

Think about the genre you would like to develop because of your personality and preference, comedy, drama, musical, cabaret, experimental, etc. At this point, you should consider whether you would like to work in theater, television, film, or digital media. This can help you know what type of la acting classes will suit your needs.

Acting well involves hard work. The profession is not easy, and a person must do a lot of research to perform well. It would be best if you learned dialogues, internalize the character and, as much as possible, make it as realistic as possible. If the result is convincing, it will be reflected in a play, TV show, or movie. Besides, it is a profession that requires passion and constant reinvention. There are several acting techniques; here are the three best known:

  • The Stanislavsky system. Created by Konstantin Stanislavski, he wrote a manual in which he exposes the elements he considered essential: relaxation, concentration, emotional memory, units, objectives, and super-objectives. He proposed to study this organic system and not his discoveries as an unavoidable rule; he also wrote and said that the profession involves continuous movement, continuous research.
  • Antonin Artaud’s model. The exciting thing about this model is that Artaud conceives as the central pedagogical pillar a heterogeneous, suprahuman social environment and at the same time generates metaphysical, sacred, and profane events. There is an exciting term related to Artaud’s model. It is the “Theater of Cruelty” where it is proposed that the spectator experiences through the play a kind of “Shock Treatment” where he moves away for a moment from his logical and rational routine to let himself be carried away by his deepest emotions, dreams, joys, and sorrows, freeing his mind for a moment from the monotonous social archetypes.
  • Jerzy Grotowski’s model. The actor is the absolute and exclusive protagonist. He dispenses with the traditional staging, and in each new proposal, a different way of spatial treatment is tried. The stage-audience relationship is thus enriched in its multiple variants. Lighting effects are abandoned; the actors who “illuminate” using unique techniques become sources of “artificial illumination.” The rejection of the deceptions of make-up and costumes allows the actor to change characters, types, and silhouettes using only his body and the mastery of his craft. The composition of facial expressions replaces the use of masks. The elimination of music allows the performance to become melody through the actors’ voices and objects’ tapping. The actors create the environment and transform it with the sole aid of their gestures.