The story is the hand you're holding out to them that says, "Come with me." Whether they choose to take it is unimportant. Some people no longer wish to travel. What's important is that the offering is made.

The Austin Acting Workshop
led by Barry Pineo

 

 

Workshop Description

The City Theatre

Recommendations

Private Coaching

Links

 

  Dear Actor:

Hello! And welcome to the home page of the Austin Acting Workshop, led by Barry Pineo.

Since you're here, you probably know that acting has as many approaches as people that approach it. So what is an actor to do? Is acting all about emotion? (Probably not, since an audience has absolutely no way of knowing what an actor is feeling.) Is acting all about spontaneity? (Probably not, since almost all acting involves memorizing lines.) Is acting all about creating a character? (Probably not, since the actor and the character are always the same person, at the same time.)

So -- what is acting?

Believe me, I wish that I could tell you. But while I can't tell you exactly what acting is (and how many teachers will admit that, hmm?), I can tell you how it works, because acting has principles. Acting has a lexicon, in the same way that ballet, jazz music, visual art -- any art form -- has a lexicon. But the lexicon has little to do with the "deep" psychology of Meisner and the Method. Those two approaches have everything to do with the emotional state of the actor and little or nothing to do with the story the actor is tasked to tell. Come on now! If actors are honest, they'll tell you that, more often than not, their emotional state is one of trepidation, one of fear. And yet, they still manage to tell their stories effectively. Given that, it should be easy for anyone to see how little emotion has to do with the craft of storytelling.

Can you tell me what the principles of acting are?

  • Why stillness is important and when you must be still?
  • When you should speak quickly and when slowly?
  • What the general tempo pattern of a story is?
  • Not just when to gesture, but how?
  • What a beat is?
  • Most importantly, what action is, and why it's central to what makes acting compelling?
If you can answer all of these questions, then you don't need to come to my workshop. But if you can only answer one, or two--or none at all--then I think you might find the workshop more than useful, and if you come, here's what you'll get:

  • Extensive monologue work, including the best preparation for auditioning available in the Austin, Texas area
  • Scene work with single and/or multiple partners
  • Cold reading preparation
  • A text-based, tool-oriented acting technique unlike any other
  • The answers to all of your questions about acting

The latter may seem like a tall order, but I've spent more than three decades working both as an actor and with actors, I've literally dedicated the last seven years of my life to figuring out exactly what acting is and how it works, and my book about acting technique has been out for four years. If you want answers to your questions, I can provide them. And if by chance I can't answer a question myself, I'll find someone who can.

Above and below are links about the workshop and about me. They include a fuller description of the workshop; selected chapters from my book, Acting that Matters, published by Allworth Press (click here to order a copy); recommendations from workshop participants; an answer to the question, "What is acting?"; and a list of links you might find useful. You can also review my résumé, if you like.

Thanks for visiting. If you'd like to contact me, just click on the link below. I'll get back to you sooner rather than later.

Best,
Barry

 

Contact Barry

 

Workshop Description

The City Theatre

Recommendations

Private Coaching

Links

 

Selected Chapters from Acting that Matters

Table of Contents

The Parts of a Story

Playing for Each Other

  Auditioning

 

Photos by Kenneth B. Gall Photography

All content copyright © 2002-2009 by Barry Pineo