Nevares Acting School & Studio

the country. Whereas in this and other countries it is easy to find a great number of quality acting coaches who follow the American tradition of Method Acting, there are precious few teachers outside of Russia who can teach Stanislavski technique as it evolved in its country of origin. Very few Russian teachers of worth (Mikhail Chekhov, Sam Kogan and Oleg Tabakov among the few) have ventured to teach acting outside Russia and fewer still have developed the language skills to do so successfully. The Technique taught in our Studio is based on the Stanislavski System, as learned by Rogelio Nevares training as actor and acting teacher in a top Russian acting school, a faculty of the All Russia State University of Cinematography (VGIK) in Moscow, the earliest, biggest and most prestigious film school in the world. This approach to teaching, and self-learning, Acting was envisioned by Stanislavski and was further developed, streamlined and perfected by himself, his associates, his students as well as by Russian and Soviet actors, directors and acting teachers throughout the twentieth century. Rogelio has studied this progression thoroughly having studied in Harvard University under Dr Anatoly Smeliansky, editor of the complete works of Stanislavski and Principal of the Moscow Art Theatre School Studio. Rogelio learned acting technique from teachers such as the abovementioned and further distilled this technique working as actor, director and acting teacher for eighteen years, the last ten of which have been in the United Kingdom thus tailoring his methodology to the needs of modern British working actors. Few teachers working in the country can claim such direct derivation from the original source of this methodology, or any other for that matter, or access to the wealth of knowledge, bibliography and data gathered during a hundred years of Russian acting technique. Rogelio Nevares’ Technique provides the shortest, simplest, straightest possible path to performing scenes of the greatest psychological multi-layered structure in the most compelling possible way and displaying the most vivid characterizations. The Technique

Rogelio Nevares’ Technique, most specifically, is a no-nonsense, all-encompassing procedure which individual elements can be readily applied:

+jointly or separately; by artists within different levels of ability, expertise and experience, from the complete novice to the seasoned working actor;

+to solving acting tasks within live (theatre) and recorded media (film, TV et al);

+encompassing the full range of dramatic styles and genres including the musical;

+in order to solve acting tasks of any type or length of time whereby acting must be sustained, including:

-the few seconds in which a line of dialogue or a reaction shot is filmed
-the performance of a song or aria
-the playing of a full scene in a play, musical, opera, operetta, film, et al
-a full play or screenplay
-audition material/sight reading
-monologues, soliloquies, one-man shows
-clown etude
-stand-up comedy material
-the creation of a character for:

• devising
• play development
• script development

Individual Skill Elements:

1) Text Analysis as taught by R NEVARES is a trademark procedure which allows the actor or the ensemble to

• comprehensively evaluate all information contained in the text itself, and to

o organize these particulars in all doable varieties of ways, in order to:

+ crack the widest possible range of possible interpretations of the given dramatic unit

+ and then proceed to decide on the one which is the most

o dramatically compelling,
o most interesting
o best suited to display an interesting characterization or
o most suited to the individual personalities and characteristics of the actors performing said dramatic unit.

• The preferred dramatic unit for analysis would be the Scene (as opposed to the Act or the full play) in the understanding that this unit can be extended as much as space and time integrity will allow. Therefore a scene can be one as understood traditionally (when a new character enters or a character leaves the action), a segment of it thereof, or a series of scenes, as traditionally understood, performed consecutively. o Consequently: This particular approach to analysis allows the actor to make, and perform, as scenes, or rather, turn into a scene, any string of dialogue or any dramatic segment which contains consecutive actions and/or speech.

• This particular approach to analysis frees the actor from having to appeal to extraneous, external sources (literary, psychoanalytical, historical et al) in order to interpret, understand or justify his/her character’s behaviour.

1.1) Ex*****on comprises the set of norms, notions, exercises and strategies which will allow the actor to:

• Utilize all conclusions reached, and performance choices made, or agreed to, in the Analysis stage, without loss, when transporting work to the actual performance space.

• Fully enable the actor to solve all acting tasks, and make all performance choices, through the exclusive use of Internal Psychological Justification (as opposed to utilizing outward technical expressive means); this will guarantee the highest level of verisimilitude (truthfulness) within the full range of stylization levels.

• The abovementioned norms, notions and exercises are applicable to acting tasks within the full range of lengths from cinematographic “little masterpieces”, as termed Mikhail Chekhov, to the performance of full scripts.

2) Character Construction, ideally, should be conceived as a progression from the above however it is also applicable on its own, bringing together two disparate approaches towards character construction:

• Classical observation & incorporation

• Strategies developed, utilized and successfully taught by Oscar-winning Russian actor and acting teacher Mikhail Chekhov, as expressed in his conclusive five hour recorded master class, with strong emphasis on:

o Energy Centre

o Psychological Gesture