Film Style Improv

Improvisation is the main thrust of the studio training. Mr. Benne writes all the improv situations, often writing custom improvs specifically for each actor and the personal breakthroughs he or she needs to have. The purpose is to live truthfully within imaginary circumstances. The training process of doing these film style improvs is beyond fun. Essentially, they work like a script - each actor gets a common knowledge shared by the scene partners and private knowledge that their partner does not know. The focus is for the actors to truly believe that the situation is really happening at that particular moment, and to work off the behavior of each other as opposed to playing the text. Actors learn to trust their preparation as opposed to playing it. It's about complete freedom in the world of the script and actors trusting their authentic instincts in order to behave organically in the conflicts of the script. Mr. Benne is a stickler for realistic relationships and the subtleties of the human condition, whether comical or tragic. The goal is for actors to be improvisationally free in text, as all film style improv training transfers to scene work.

Professional Scene Study

Michelle Dawson & Jave Griffin
doing a film-style improv

Mr. Benne assigns all scene work to actors either from plays or film scripts. The material and role is always something for the actor to sink their teeth into. The scene work is unrehearsed; actors may meet only to run lines and strengthen and explore their relationships. When actors are truly improvising within a scene, it appears professionally directed. Mr. Benne gives very detailed notes to each actor for more complexities, layers, and colors within their work. Scene study also covers the basics: objectives, actions, beats, script analysis, character development, emotional preparation, language, and consistent throughline.

Behavior

Much attention in Mr. Benne's classes is spent on human behavior, both with props and with other actors. Out of each moment and each situation human behavior arises. The Work is focused more on how human beings behave than what they say. "Behavior Activities" (i.e. difficult tasks) are constantly used in the work to keep it riveting and realistic.

Anthony Marquez & April Matson
"Fool for Love"

Raw Moments

Based on Meisner's repetition exercise (but very different), Raw Moments are a "one-word" spontaneous human experience between two actors. They develop trust of oneself and truthful organic impulses. Their goal is to get you out of your head and into your body, to have complex relationships with complete strangers, to listen and respond, to affect and be affected, and to find out how others view you. Basically, Raw Moments are a tool for the actors to use in order to get out of their own way and maintain a moment to moment connection with their partner. Raw Moments transfer to every aspect of "The Work."

Emotional Preparation

Learning to emotionally prepare is also taught in the classes. How to be specific and truthful. How to have daydreams which cause transformation in the actor's inner life. Emotional preparation is not about making "head" choices of how to be in the scene, but to let the script and your imagination take you over - consume you. When you are fully emotionally prepared your behavior and body will respond in the world of your script.

Margaret Bromige & Vince Lozano
"The Elephant Man"

Cold Reading and On-Camera Audition Labs

Transferring "The Work" into casting director reads is vital for the professional actor. Cold reading and on-camera audition labs are taught by Mr. Benne and other professional working actors. Since many of the Studio's students are auditioning for high-profile projects, it is crucial that the sides used within the audition lab are taken directly from films and television shows currently being cast. The audition lab helps you "rise to your own occasion" within the read and tackle any adjustments a casting director may throw at you. This class may be taken as a second class (elective) or on its own - depending on the industry professional teaching and the class-size capacity.