Actor training
Actor training develops the voice, movement, imagination, and craft performers use to create characters and communicate stories onstage or onscreen.
Vocal training: Exercises and techniques that develop vocal strength, clarity, flexibility, and expressive range. It builds the breath, resonance, and articulation actors rely on to make speech carry.
Meisner technique: An acting approach centered on truthful responses to a partner and repetition exercises. Its partner-focused exercises train actors to respond rather than plan reactions.
Konstantin Stanislavski: A Russian actor and director whose system profoundly shaped modern approaches to acting and rehearsal. His rehearsal experiments established a lasting model for actor preparation.
Audition: A performance evaluation in which actors demonstrate their suitability for a role or production. Audition practice applies technique under brief, high-pressure conditions.
Method acting: A group of acting approaches associated with emotional identification and psychological preparation for roles. Its inward preparation is often contrasted with approaches based on external physical technique.
Movement training: Physical practices that develop coordination, expressiveness, spatial awareness, and control of the body. It gives actors a more precise and expressive physical vocabulary.
Michael Chekhov technique: An acting method using imagination, gesture, and psychological qualities to shape character and action. It translates imagined qualities into playable physical choices.
Vsevolod Meyerhold: A Russian theatre director who developed biomechanics, a rigorous physical approach to acting. His emphasis on trained physical action challenged psychological realism.
Stage combat: A theatrical discipline that choreographs simulated violence for performance with controlled risk. It requires actors to coordinate convincing action with precise safety techniques.
Physical theatre: Theatre in which physical movement is a primary means of storytelling and dramatic expression. It foregrounds bodily composition where text-centered acting may take priority.