CURRICULUM
2021
BPH has created a modern program, unique in Romania, inspired by drama training centers in London and Los Angeles. Also, each new module brings with it the analysis of new methods and acting techniques compared to previous modules in order to keep the student always fresh, always curious. Scroll to find out the disciplines of 2021!
Technique and movement 1
Awareness of the relationship with the group as space and energy.
Understanding the self through the art of the actor.
Non-verbal expression of human behavior.
Understanding the image as a story.
Relationship with the stage partner.
Physical, verbal and mental actions.
Students will work on identifying and releasing tensions that unconsciously constrain movement during play.
Technique and movement 2
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The connection with dramatic choices
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Vision
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Imagination
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Deepening the actions
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Introductory notions in the Laban movement
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Meyerhold Exercises
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The purpose of this module is to strengthen and build on the previous mode, exploring the power of the actor's imagination while developing his ability to move.
Scene Analysis 1
This course will include understanding the global and stage objective, as a basic tool of the story, segmenting the scene into units and actions, obstacles, character analysis, stage activities. Once in two sessions, the student will receive a new scene to work on and present in class with a partner. The scenes are chosen from both movies and plays, from the classical to the contemporary repertoire.
Scene analysis 2
The basic tools will be deepened and then the inner images will be discovered, the substitution, the emotional diary, the division of the scene into arcs and moments of tension of the narrative thread. The actor will learn a complex understanding of the elements underlying the dramatic construction that will lead to the interpretation of the playwright's intention depending on the creativity and personality of the actor.
Voice
In this course the actor will learn to know and release his spoken voice naturally, working at the same time to expand and strengthen the vocal ambit, strength, resonance and clarity. The actor will have the opportunity to put into practice the skills learned in working on monologues, sonnets and stories.
Film acting
It addresses the actors who have passed the intermediate stage and focuses on the last steps before an audition and on the details that make the acting in front of the camera different from the one on stage. Scenes already worked on will be filmed and watched in each course, and at the end the students will have the opportunity to master the material and add it to the showreels.
The methods of great acting teachers come to Romania
Adler method
Nicknamed the "mother of modern acting", Stella Adler has built a method that emphasizes the development of imagination and actions, the deep research of the character's world and unique and powerful choices. The source of inspiration in creating a role is the actor's imagination in relation to the circumstances given by the play.
Strasberg method
The creator of the famous "method" described the actor as "an individual who can create by himself." The other three aspects of his method emphasize relaxation, concentration and emotional memory. To reach that level of creativity you need the presence of something that ignites the actor at the subconscious level.
Meisner method
For Meisner, acting means doing. From this come all the other aspects of acting. He introduced rehearsal exercises that help actors gain confidence in acting. In his view, "a gram of behavior is worth a kilogram of words."
Alexander technique
Known worldwide, and outside the realm of actor training, it allows anyone to become aware of their physical habits that affect their performance and to transform those habits by improving their breathing and vocal coordination, facilitating the creation of stage life.
Chubbuck method
BPH's philosophy is built around Ivana Chubbuck's method, perhaps the newest and most successful overseas acting method. Like the other styles, the origins are found in the Stanislavsky system, but it is more synthetic, more practical, and much faster to apply.
Hagen method
One of the favorite approaches of the actors, especially for its practicality and lack of abstract flourishes. It is based on personal reflection on the role making this method useful at every stage of training and seniority of any actor.