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Philip G. Bennett

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Retreat for Third Year Grads-Mt. Shasta, California

Actor Training

Actor & Self
Elements of Action
(Psychophysical Conditioning
Exercises & Improvisation)
  Concentration/Meditation
  Relaxation/Pranayana (Yoga)
  Flow of Muscular Energy
  Physical Actions
  Imagination
  Inner Dialogue
  Tempo-Rhythm
  Sense Memory
Actor & Character 
  Text Analysis
  Supertask (Superobjective)
  Physical Actions
  Physical Embodiment
  Living Experience
  Reincarnation
  Inspiration
  Superconsciousness
 
Actor & Role
  Events & Objectives
  Themes
  Leit Motif
  Supertask of Play
  Sculpture of the Body
  Physical Embodiment of the Role
  Supersupertask
 
Modern Drama
  Chekhov
  Wilde
  O'Neill
  Williams
Classical Acting
  The Greeks
  Moliere
  Shakespeare as a
  Second Language

Teacher & Director Training
 
Teaching  the System
  Selecting Student Actors
  Therory Behind The System
  Psychophysical Reintegration
  through Conditioning Exercises
  & Improvisation
  Training Language
  Introducing  the Elements of Action
  Physical Training
  Subtext of the Body
  Individual Training
  Ensemble Training
  The Monologue as Teaching Device
  The Scene as Teaching Device
  Student Performances
 
Directing with Active Analysis
  Selecting the Company
  Training the Ensemble
  Group Motivation
  Conducting Productive Rehearsals
  Method of Physical Actions
  Supertask of Characters
  & the Play
  Voice & Speech
  Movement
  Genre
  Period & Styles
  Language of  the Script
  The Plot
  Character Analysis
  Improvisations & Etudes
  Back Story/Second Plan
  Before Time & After Time
  Creating the Novel of the Script
  Creating Devices
  Staging & Mise en Scene
  Mode of Performance
  Supersupertask of the Director
 
Unlocking Classical Texts
  Greek Comedy & Tragedy
  Moliere
  Shakespeare
 
Late 19th &  Early 20th Century Drama
  The Emergence of Psychology & Subtext