-December 31, 2018
January 1, 2018
About our Programs
Two Year Program
Technique, Script Analysis & Scene Study
Movement & Alexander Technique
Voice and Speech
Production and On-Camera
Improvisation & Musical Voice
Moving to Los Angeles
Table of Contents
From 1905, at the age of four, until her death eighty-seven years later, Stella Adler dedicated her life to preserving and expanding the highest level of art in the theatre. In 1931 Harold Clurman, Strasberg, and Cheryl Crawford created an influential theatre group that championed an imperative for realism and the teachings of Konstantin Stanislavski, Clurman and Strasberg invited Stella Adler to become a founding member of that collective, which was called The Group Theatre. While acting with the Group, she did some of her best work, including the notable roles of Sarah Glassman in Success Story, Adah Menken in Gold Eagle Guy, Bessie Berger in Awake and Sing, and Clara in Paradise Lost. Taking a brief leave of absence in 1934 to travel to Russia, she stopped off in Paris, where she met and studied for five weeks with Konstantin Stanislavski. (She was the only American actor ever to study with him privately.) When she returned to The Group Theatre with a new understanding of his work, and a new idea of what American theatre could be, she began to give acting classes for other members of the Group, including Sanford Meisner, Elia Kazan, and Robert Lewis, all of whom went on to become notable theatrical directors and acting teachers. With her work as an actor and director, Stella Adler began to teach in the early 1940's at the Erwin Piscator Workshop at the New School for Social Research. She left the faculty in 1949 to establish her own place for young actors to work, study, and perform, which would last five decades and enrich every part of the American theatre and motion picture arts.
About the Adler
Stella Adler Academy of Acting and Theatre-Los Angeles is a world renowned acting school located in the heart of Hollywood, California. We offer extensive training for the serious actor in Theatre, film, and television (on camera). The Stella Adler Technique grew out of Miss Adler’s personal work with Konstantin Stanislavski, the father of modern acting. After a long and successful career in films and on Broadway, including ten years with the famous "Group Theatre," Adler opened her New York school in 1949. She taught acting technique based on her personal work with Constantine Stanislavski a technique that nurtures the imagination of the actor. After teaching for many years in Los Angeles at various venues, Stella Adler, along with Joanne Linville and Irene Gilbert, founded the Stella Adler Academy of Acting in Los Angeles in 1985.
Come join the list of the world’s most notable actors, directors, and writers including Marlon Brando, Robert DeNiro, Salma Hayek, Benicio Del Toro, Holland Taylor, Gary Ross, Eric Stoltz, Mark Ruffalo, just to name a few.
Stella Adler Academy of Acting and Theatre- Los Angeles is a non-profit arts organization dedicated to uplifting and enriching our collective humanity through the dramatic arts. Driven by the belief that growth as an actor and growth as a person are the same, our Academy provides the tools, training, and discipline to nurture and support actors who are committed not only to the art form, but to a life of social engagement. In addition to our teaching center, we offer public programming and extensive community outreach, including free and low-cost performances for thousands of patrons as well as some of the city's most under served children, families and senior citizens.
About our Programs
Stella Adler believed if you have the passion, you should be given the opportunity to learn an acting technique.
Whether you are interested in individual, part time or full time courses, you will find a program customized for the individual actor. We welcome actors from around the world to grow and foster their talent within our walls.
Students need not have any performance background or previous training to apply. Although we have many working actors in our program, we welcome beginners or the curious.
U.S. students may take individual classes or enroll in the two year program. All classes count towards the two year program.
International Students must attend full-time courses due to M-1 visa requirements.
Short courses of study are available if you are unable to spend two years with us.
Term Dates for 2017
January 3 – February 23
February 26 – April 20
Late Spring 2018
April 30 – June 22
June 25 – August 17
Late Summer 2018
August 27 – October 19
October 22 – December 14
Students may begin their studies at the beginning of any term. We have 6 terms per year in which to choose from.
24 months immersed in your imagination
Students are evaluated at the the end of every term by faculty. Pending evaluation, students may move up-ward in the program.
Curriculum subject to change depending upon faculty availability.
Play Production I
Beginning Scene Study
Students must pass a monologue review with faculty to proceed into the 2nd year.
Technique Level II
Alexander Technique II
Advanced Scene Study
Improv to Scene II
Final Play Production
Technique Level III
Improv to Scene
Total: 972 hrs $18500
Play Production II
Technique Level I
Classes may also be taken on an individual or part time basis.
Hours per term term
Intermediate Scene Study
Total: 984 hrs $17400
Two Year Program
Laura Leyva (Technique I, Script Breakdown, On-Camera) A proud member of AEA, SAG, AFTRA and of the theatrical community, with a performing career that spans over fifty years, Laura's credits include work on Broadway, Off-Broadway, in regional theatre, on film, television, radio, voice-over work, print work and in commercials. Television credits include Modern Family, Major Crimes, Wedding Band, Cagney and Lacey and Murder She Wrote. Laura served as head juror for the UMKC Film Festival in Kansas City, MO, 1990-1995, as managing producer for the Actors Platform at the Los Feliz Playhouse, 1992-1997, and as producer for the NYU Tisch Summer Session, 2007-2008. Laura studied with Stella Adler and Ron Burrus at the Stella Adler Conservatory in NYC, 1977-1979. Ms Leyva has been teaching since 1981.
Mr. McNeil (Technique II, Advanced Scene Study, Character) has appeared in over 30 films and television shows. His film credits include Forrest Gump, Contact, Speedway, Jundy, Starship Troopers, Small Souled Men, Poodle Springs, Wicked, and Spark, among others. Television credits include Joan of Arcadia, LAX, ER, House, M.D., Angel, Las Vegas, Seinfeld, Fresh Prince, Martial Law, Star Trek Voyager and others. Mr. McNeil has performed in over 40 plays, including Waiting for Godot, You're a Good Man Charlie Brown, Hamlet, Three Sisters, The Seagull, Crane Ms., Margaret, The Straight Bozo, Blue Streak, Misalliance, A Private View, Glengarry Glenross, Lambies, Virgin Vampires from Venus, Marriage of Bette and Boo, Me and My Friend, and Good to name a few. In addition, he has written and produced over 12 plays, including Crane Ms. Margaret, Supernova, Lambies, The Straight Bozo, Small Days, Blue Streak, Freddie's Dead, Le Blimp Sur La Lune, and Wreath among others. Mr. McNeil has also directed many plays including the award winning The Marriage of Bette and Boo, Beach Play, and Volatilizing the Esthers. He has been a member of Stella Adler Faculty since 1999.
Technique I is the course of study upon which the training of the modern actor is based. Actors are the "doers" in the collaborative effort that results in a film or play being seen and heard. Therefore, all understanding is made "doable" in the learning of the skills for the actor. Listed below are eight highlights of the craft that actors are taught to practice:
1. Understanding of self through the art form of acting
2. Actor's relationship to words and feelings
3. Physical and mental relaxation within the circumstances
4. Creative imagination as a major acting tool
5. Application of the three levels of justification
6. Non-verbal expression through character behavior
7. Relationship with partners
8. Mental actions and their four specific types
Technique II The purpose of Technique II is to create an independent actor responsible for his or her own creative and professional life. Stella Adler Actors will explore the fundamentals and building blocks of their craft. This involves using their imagination to create interesting characters that serve the writer's intention. Exercises and scenes will be used to clarify an actor's process leading to an independent artist.
Technique III The purpose of this class is to work in depth with the fundamentals and advanced work of the Stella Adler Technique, the importance of playing actions, creating a character, living in the circumstance of a play with an emphasis on stimulating the imagination. The six areas of concentration that we will examine are:
1. Connection to actors’ choices
2. Sequence of thoughts and size of ideas
5. Building and living in circumstances
Script Analysis This class teaches the process of breaking scenes into playable beats and actions, character analysis, specific playwriting styles and periods, by presenting various scenes from classic to contemporary texts.
Script Breakdown This class teaches the process of breaking scenes into playable beats and actions, character analysis, specific playwriting styles and periods, by presenting various scenes from classic to contemporary texts.
Joanne Linville (Comprehensive Technique) Ms. Linville worked and studied closely with Stella Adler in both New York and Los Angeles. She began her television career in the 1950's, playing in anthology series such as Studio One, Kraft Television Theatre, Alfred Hitchcock Presents and The Twilight Zone. Ms. Linville has appeared in many televsion series including: Bonanza, Gunsmoke, Hawaii Five-O, Kojak, Charlie's Angels, Dynasty and L.A. Law to name a few. She is best remembered as the female Romulan captain from Star Trek: The Original Series. Ms. Linville has taught in both New York and Los Angeles. Her class, Comprehensive Technique, is a unique and beautiful approach to the work that stands on the shoulders of Stella's Technique.
Comprehensive Technique This class is an intense exploration of Technique through the book "Seven Steps To An Acting Craft" by Joanne Linville- which is based on her years of experience as an actor and teacher, and on her years as a student of Stella Adler in the 1950's, 60's and 70's .
Christopher Thornton (Scene Study, Audition Skills) Chris is an actor, writer, and Alumnus of Stella Adler - Los Angeles. Theatre performances include; Off-Broadway's Pyretown by John Belluso, The World Premiere of Pyretown at the Geva Theatre in Rochester, NY, The World Premiere of The Body of Bourne at the Mark Taper Forum in Los Angeles, Lion or This Corpse Will Not Stop Burning at the Lillian Theatre in LA, Up the Hill, Me and My Friend, I'm a Professional, The World Premiere of Small Days, Vaclav Havel's Private View, London Calling, Misalliance, Waiting for Godot (Drama Logue Award), Three Sisters, C.P. Taylor's Good, A Midsummer Night's Dream, Romeo and Juliet, American Buffalo,Zastrozzi, Sheperd's Play, The Skin of Our Teeth, and The Poor Itch at The Public Theatre in New York. Television credits include NBC's My Name is Earl, Fox's Unhitched" Larry David's Curb Your Enthusiasm, Homefront, Players, and Just One of the Girls. He has had recurring roles on Family Law, Lifetime's Any Day Now, and ABC's Alias. Films include Universal Pictures' State of Play, Pretty Persuasion, Bug, and Welcome to California . He also wrote and starred in Sympathy for Delicious, (directed by Mark Ruffalo, starring Orlando Bloom, Juliette Lewis, Laura Linney, and Mark Ruffalo).
Character In this class, we deeply investigate character and the process of deepening an actor's character work, through a series of exercises and work on actual scripts. The work in this class will be applicable to film and theater and will leave the actor with certain techniques that bring the actor closer to his or her character and give him or her a deeper sense of belief in themselves in the circumstance.
Scene Study Having completed Technique I & II and Script Breakdown, the actor will present scenes where they will receive analysis and criticism that will provide insight into the playwright and his meaning. The actor will acquire a new heightened understanding, which will lead to an interpretation of the playwright in light of the actor's own talent and creativity.
Celio Silveira (Alexander Technique, Advanced Alexander Technique) An accomplished singer and guitar player, Celio started his journey with the Alexander Technique in 1987 while attending the University Angel Vianna in Brazil. Among the many required classes, including classical ballet, modern dance, and anatomy, it was the Alexander Technique which captivated him from the very first class. He went on to be certified at The Alexander Training Institute of Los Angeles. Here he developed a special interest in performance arts, as well as working with people with specific problems like back pain and neurological problems (especially involving movement). He has taught Alexander Technique for Cal-Arts Department of Music, American Academy of Dramatic Arts, American Musical and Dramatic Academy and the Alexander Training Institute of Los Angeles. He has extensive training in judo and dance.
Movement I Foundation Technique for Movement for Actors-This is an intensive psycho-physical approach to movement training that emphasizes the value of developing physical awareness in acting. In this technique, students explore identifying and releasing habitual tensions that restrict their movement. Through this process, actors learn to free-up and engage their bodies more organically in their acting. This is a valuable class for students of all levels.
Movement II This class is designed to take students beyond the foundation work from Movement I. Through the wide variety of exercises explored in this class, students have ample opportunity to see the connections between the movement training and their acting.
Movement III In this class student-actors explore the 'Release Technique' and the Physical Theatre work of Jaques LeCoq. Through the Release Technique, actors will develop the simple ease and presence required to set foot on a stage or to enter an audition. This technique is also very freeing and it offers a wonderful segue into the LeCoq technique, which we will use to explore how to embody the many elements and circumstances of a play or scene. Movement I is required for this class.
Movement IV In this class students develop Physical Acting Techniques, which are techniques that can be directly applied to scenes or monologues. Through these techniques, students learn to make 'physical choices' in their acting. In this class, students have the opportunity to use text in combination with Movement exercises. Among other things, actors learn to stay 'connected' and 'in the body' while speaking text. Movement I & II and Voice I are required for this class.
Movement V focuses on Character Development through physical acting techniques. Throughout the term, students will work on two different character projects that are applied to two dramatic monologues. Each project will use a different set of techniques, which are explored in depth so that students can apply them to their outside acting work. Movement IV is required for this class.
Kennedy Brown (Movement I-V) Kennedy has been teaching Movement for Actors for over ten years in major acting programs in both New York and Los Angeles. Kennedy teaching is primarily influenced by his more than 20 years of association with Faye Simpson- founder of the Lucid Body Technique. He has been a collaborator in Ms. Simpson's company, the Impact Theatre, as well as an assistant to Ms. Simpson in her classes and workshops. Kennedy's Movement for Actors program is also influenced by the Skinner Release Technique, LeCoq Technique and Laban-Bartenief Movement Fundamentals. Kennedy is a founding member of the movement theatre compan y, The Gravity Project, where his most recent performance was titled Red Bush Blossoms, a solo piece based on the poem Transcription for Organ Music, by Alan Ginsberg. Kennedy also has a background in Classical Acting, having been a core company member of the highly regarded Jean Cocteau Repertory Theatre in New York City. Besides teaching at Stella Adler-LA, Kennedy is a Lecturer in the Acting Department at California State University, Fullerton where he teaches Voice, Speech and Movement. He is a certified Yoga Instructor, having received the Level I certification from the Jivamukti Yoga Center in New York. He is also a certified Associate of Fitzmaurice Voicework.
Alexander Technique An acclaimed method for improving the actor's sense of mental and physical ease and flexibility. This technique provides a means to change unconscious habits of excessive tension into an integrated, poised use of the whole Self (mind, body, especially concerning breathing and voice). Students will receive hands-on guidance from the teacher in order to identify their own habitual movement patterns. This awareness provides a great sense of openness and ease, optimizing the actor’s potential. The actor learns to use the technique in performance to develop their craft, as well as in daily activities to help prevent injuries.
Advanced Alexander Technique The confident actor uses the principles of the Alexander Technique as a tool to be present and stay connected. After having the experience of the first Alexander Technique class (Alexander Technique I), the actor is ready to come to the Advanced, in order to explore more deeply the use of the self, and to carve deeper into the actor’s craft. The understanding of this process can enable the actor learn to choose more wisely. We will explore in depth how the Alexander Technique fits in perfectly when entering the stage: Maintaining a sense of lightness (and light-heartedness) in any audition; speaking without tension and strain. Furthermore, we will apply AT "tools" to monologues, scenes, mock auditions, cold readings, and in front of the camera. You’ll still receive the hands-on guidance from the teacher, as well as practice quieting your nervous system and releasing unnecessary tension with Constructive (Active) Rest. You’ll train yourself to be highly aware of your acting instrument, having the skill to stop unwanted habits and to make clearer and more confident choices. Prerequisites: Alexander Technique I
Peter Wittrock (Voice I, II & III) was first introduced to the Linklater Voice work in 1979 when he attended the first January Acting Intensive hosted by Shakespeare & Company, the Shakespeare theater company co-founded by Kristin Linklater and Tina Packer. He became a member of the company in 1983 and immersed himself in the Company’s ethos of actor training, performance, and service to the community (education program). He worked directly with Kristin Linklater for several years and trained under her to become a Designated Linklater Voice teacher in 1987. Peter taught voice and Shakespeare text for many years at Shakespeare & Company’s January and July intensives as well as appearing as an actor in numerous roles including Romeo, Hamlet, Iago, Banquo, Bassanio, among others. Subsequently, he taught voice and speech at the University of Massachusetts, Bennington College in Vermont, Simon’s Rock of Bard College in Great Barrington MA., DePaul University in Chicago (formerly Goodman School of Drama), and later at USC and UCLA in California. Active in the small theater scene in Los Angeles, Peter was theater director at The Celtic Arts Center in North Hollywood where he produced The Lepers of Baile Baste, The Beauty Queen of Leenane, The Lonesome West, Celtic Tiger Me Arse and directed The Secret Fall of Constance Wilde. Recent acting credits include Orsino in Twelfth Night, Juror 10 in Twelve Angry Men, at The Mechanicals Theater Company; Falstaff in Merry Wives of Windsor, Leontes in A Winter’s Tale and Benedick in Much Ado About Nothing, which he also directed, at the Southern California Shakespeare Festival. Other directing credits include the Laramie Project with The Mechanicals, and Romeo and Juliet at the Downtown Repertory Theater. He directed Taming of the Shrew at the Tulane Shakespeare Festival at Tulane University in New Orleans (which received a Jay Stanley Marquee nomination for best director), and A Midsummer Night’s Dream at the Sun Valley Repertory Theater in Ketchum, Idaho. Peter recently earned his 200 hour Yoga Alliance teaching certificate and has begun to teach a combination of yoga and voice, furthering his interest in the intersection between personal growth and participation in theater.
Speech I In this course, students are introduced to the sounds inherent in General American Speech and learn to identify the sounds they are making in comparison with this standard. Sounds are taught using the International Phonetic Alphabet, a notation system which allows students to visualize sounds and apply the correct sounds to their text work. Students leave with an awareness of their own speech patterns and tools with which to make changes. Required text: "Speak With Distinction," by Edith Skinner.
Speech II Building on the awareness gained in Speech One, students learn to use words and sounds more effectively to create a deeper emotional/personal connection to the text. Students also continue to work on speech habits as they relate to General American Speech and elements of Good Classical Speech are introduced. Students leave with the ability to speak classical and modern texts with physical and emotional clarity. Required text: "Speak With Distinction," by Edith Skinner. Pre-requisite: Speech One
Voice I This class trains the actor to free the natural speaking voice by learning and exploring the classic progression of the Linklater voice work. The actor will learn a series of physical and vocal exercises that will free the voice from tensions and negative habits while developing, strengthening and expanding vocal range, power, resonance and clarity. The actor will explore a piece of modern text in this class.
Voice II This class continues the Linklater voice progression with a strong focus on development of the speaking range, articulation, and emotional-vocal connections for the actor. They develop the tools of pitch, rate and volume to structure the work, and learn to allow their voice to respond to their imagination and interpretation of the material. The actor will explore a piece of classical text in this class.
Voice III This is an advanced voice class for actors who have finished Voice I and II. The actor will continue to reinforce the voice progression they have learned, and will have more opportunity to practically apply their voice technique in monologue and scene work every week. The actor will explore both modern and classical texts in this class.
Tim Kopacz (Speech I, Speech II and Private Speech) has been a voice and speech teacher since 2014, when he first starting taking private clients in New England. He has served as a private teacher for actors and professionals alike who desire to take a conscious approach to their speech patterns, as well as the dialect consultant for full theatrical productions. He is a classically trained actor, having earned an MFA in Acting from Brown University, including three years of voice and speech under the tutelage of Thom Jones.
Play Production I At the end of the first year of study, actors are cast in a fully staged production of a play. The director/teacher aids the actors in combining all of the elements of the first year of study, applying them towards final performances in front of an audience. Prerequisites apply.
Mandatory one hour vocal and body warmup prior to rehearsal.
Play Production II This class is the actor’s second full production of a play. More independent technique work will be expected of the actor as the director/teacher guides the production to performance level.
Play Production III This class is the actor’s final production in the full program. The actor is expected to work independently on all script analysis and character breakdown so that his/her individual work contributes to the ensemble in each progressive rehearsal. The director will help shape the performance through the rehearsal process.
On Camera Acting is a step by step process for the advanced actor, covering the preparatory work that is done before the final callback audition and the acting breakdown of the full script before the actor arrives on set to shoot. Only film scripts are used and all work is done on camera. Adjusting the actor's instrument from Stage to film is emphasized.
On Camera Craft is a continuation of the Adler On-Camera Technique for the advanced actor covering the technical work that is done after the actor arrives on set to shoot and the camera begins rolling. Scenes which are already at performance level are taped with specific practice in the differences in scale, eyeline and pacing that occur from changes in camera angles. Comfort with continuity, and keeping the performance alive through multiple takes will be examined in playback.
Audition Skills The purpose of this class is to prepare actors for the audition environment by giving a realistic idea of what is required in an audition. This is an on-camera class. Students will work a minimum of twice per class and see their work in video.
Rick Peters (On-Camera, Play Production I) Rick is a working actor, writer, and teacher. His childhood and education include years in London, England and Melbourne, Australia. He began acting on stage at the age of 8, and has been a professional actor since 1991, and a teacher at the Stella Adler Academy and Theatre - Los Angeles. Rick enjoyed the good fortune of working with Stella Adler in her master class, as well as years studying with Joanne Linville, Milton Justice, and Tim McNeil at the Stella Adler Academy of Acting and Theatre - Los Angeles, and Richard Greene at the Coronet Theater. Rick’s television career includes work as a series regular on a number of television series, as well as recurring work on the shows Dexter, Masters of Sex, and numerous guest star credits which include most of the shows in the NCIS family.
Timothy Craig (On-Camera Craft) Tim studied acting and script analysis personally with Stella Adler through the NYU Undergraduate Drama Program in New York City for three years and headed her conservatory voice and speech program for an additional six. His professional acting credits include roles in regional and summer stock theater, Off- and Off-Off-Broadway, industrials and many national, network commercials. It was also during this time that he studied acting and directing for two years with Evgeny Lanskoy, a master teacher and recent émigré from the Soviet Union, and learned the revolutionary, model-based updating of the Stanislavski System of Acting. Mr. Craig left New York City to attend USC's Graduate School of Cinema in Los Angeles and formed Cairn Productions, a successful partnership for producing and directing independent films, videos, commercials, industrials, and music videos. Most recently, he directed, shot and edited Take 22, a program of 22 video scenes for students of Edgemar Center for the Arts in Santa Monica. A published and produced playwright and screenwriter, his play, Oregon Dawn, was a finalist for the Oregon Book Award for Drama. His most recent play, Count, was presented at the National Math Conference in Portland, Oregon.Mr. Craig is a member of SAG, AFTRA, AEA, and the Dramatists Guild of America.
Bonnie McNeil (Play Production) Bonnie is a longtime Stella Adler alumni. She's been a part of the Adler family for more than twenty years. As part of the original "Company," she performed in The Three Sisters and The Seagull, directed by Joanne Linville; and A Private View, Missalliance, Entertaining Mr. Sloane, and the world premier of Heartbreak, all directed by Milton Justice. She was a founding member of Page 93, a company of alumnus such as Tim McNeil, Mark Ruffalo, Christopher Thornton, Susan Vinciotti, May Quigley and Jack Rodgers who she had the pleasure of working with on Hamlet, The Marriage of Bette and Boo, Happy Birthday Wanda June, A Stye in the Eye, For Whom the Southern Belle Tolls and Margaret, written by Tim McNeil and directed by Mark Ruffalo. She is now a member of the Elephant Theater Company and most recently was nominated for an LADCC award for her performance as Mabel in her husband Tim's award winning play, Supernova, directed by Lindsay Allbaugh at the Elephant Theater. Her directing credits include Side Man, The Marriage of Bette and Boo, Rosemary With Ginger, The Divorce Party, Laundry and Bourbon and Unfinished. She recently finished filming As High As The Sky, written and directed by Nikki Braendlin.
Dmitri Boudrine (Theatre History) Dmitri has more than 17 years of acting experience for Film & Television in North America. Before transplanting to the US he studied film and TV acting and directing for five years at the Vakhtangov Theater School (Moscow, Russia), and went on to become an official representative of the school (which is considered to be one of the 10 best acting schools in the world). He has performed on the stages of the world famous Moscow Art Theater and the Vakhtangov Theater. Dmitri's extensive list of North American credits includes Cast Away, Perfect Sleep, Runaway Virus, Pandora's Clock, Exiles In Paradise, Little Odessa, Lost, NYPD Blue, Without A Trace, Will & Grace, Monk, Alias, Robbery Homicide Division, X-Files, Mad About You, and Millennium. He also produced more than 75 TV projects for international broadcast. Dmitri worked with the United Players of Vancouver Theater Company where he directed Three Sisters and Uncle Vanya. Latter show was hailed as "one of the best Chekhovian performances in Canada in 25 years." Dmitri taught acting at the Union of British Columbia Performers (Canada), Michael Chekhov Studio West (USA) and has conducted numerous acting workshops in Canada, the US, and Europe. He is a member of SAG, AFTRA, ACTRA, and UBCP.
Bruce Katzman (Shakespeare I, Shakespeare II and Chekhov) Bruce was a student of Stella Adler for five years and attended the Yale School of Drama, where he earned his MFA in Acting. He has taught workshops on the plays of Anton Chekhov in Oxford, England, in Denmark and in Buenos Aries, Argentina. He has taught in NYC at the Circle Rep Theatre School, Stella Adler Conservatory and the Actors Center, where he was a member of the founding faculty. He has been a visiting professor at the Yale School of Drama, Princeton, Williams College and the University of Scranton. Directing credits include Uncle Vanya and King Lear at the MET Theatre in Los Angeles. As an actor, he has appeared in New York with the Roundabout Theatre, Manhattan Theatre Club, NY Shakespeare Festival and Tony Randall's National Actors Theatre. TV credits include Desperate Housewives, Without a Trace, The O.C., Law and Order, NYPD Blue, Judging Amy, Strong Medicine and Late Night with David Letterman, as well as all the daytime dramas.
Shakespeare I An introduction and step by step approach to the English language's greatest playwright. Through monologue work, students become knowledgeable and practiced with the fundamentals of Iambic Pentameter (blank verse). Students learn to understand the principles and structures of Rhetoric and how to identify Operative Words and how to personalize imagery. Language springs from a deep experience, and the expression of complex thoughts becomes easy and familiar. By course's end, students have two monologues which will serve them in auditioning for professional companies.
Shakespeare II A continuation of the work from Shakespeare I, students produce scenes from Shakespeare's plays. There is further emphasis on script analysis and deep character development based on the embedded clues provided by Shakespeare.
Chekhov An advanced class that offers an in-depth look at Chekhov's major plays (Seagull, Uncle Vanya, Three Sisters, The Cherry Orchard) with an emphasis on script analysis, determining objectives, and playing actions. The mystery of Chekhov's genius is revealed through a layer by layer exploration of character relationships and the given circumstances, and by the peeling away of extraneous, self-oriented acting impulses. The actor's work becomes pure, simple, and direct.
June Barfield (Theatre History) June is a Los Angeles-based writer who began her career as an actor in New York. Her acting credits include The Dybuk at LaMama, The Trojan Women (Andromache) and Under Milkwood at the George St. Playhouse in New Jersey; and Two for the Seesaw and Othello (Desdemona) in New Jersey summer stock. She starred as Malke opposite Maurice Schwartz in a Los Angeles production of the Jewish classic Yoshe Kalb by I.J. Singer (English version). She also appeared on television in Search for Tomorrow and in the film Why Must I Die. Her writing credits include: A Woman of My Age (adaptation of novel to screenplay), and Too Close to Home (a one-hour segment for the television series Family). She wrote the English adaptation (Together Again) of the telenovela El Derecho de Nacer for Televisa, S.A. and she was an associate writer for General Hospital and One Life to Live. June holds degrees in Theatre from Los Angeles City College and from Rutgers University. She studied with Uta Hagen, Martha Graham and she was on scholarship under John Houseman at the Stratford, Connecticut American Shakespeare Festival and Academy where she studied with Morris Carnovsky and Phoebe Brand, original members of The Group Theatre.
Greek Theatre - tragedy and comedy - is where acting derives from. Drama in ancient Greek means action, action involves thought and thought requires presence. The class explores the essential elements of the theatre - plot, character, poetry, aesthetics - and attempts to fathom the world of the heroes through exercises based on animal archetypes, primordial movement patterns and oriental healing techniques. Strong characters demand strong choices. Greek theatre is all about poetry and size, two ideas that are at the core of the Stella Adler Technique.
Theatre History- Throughout human history, Theatre Acting, and all performing arts, have been a necessity for the human psyche, and have become spiritual and educational vehicles that have helped individuals and societies move forward. In this on your feet, active class (not lecture only), the most important Theatre/Acting movements through history are identified and explored. Ancient Greek Theatre, Roman, Sanskrit, Noh, Kabuki, Intermezzi, Comedia del' Arte and Elizabethan Theatre are just some of the stops on our journey though time and human exploration. This knowledge of our Theatrical and Acting Heritage can become a powerful tool in the hands of an actor.
Yorgos Karamihos (Greek Theatre) Yorogs is an actor, director and acting teacher, born and raised in Greece. He graduated from the Philosophy and History Department of Ionian University and The Greek National Theatre Academy. In 2012 he received a Fulbright Scholarship as an exceptional artist to attend the full time program at Stella Adler Academy of Acting in Los Angeles. As an actor, he played lead roles in more than 30 theatre plays of a range repertoire including ancient Greek dramas, Shakespeare, Checkov, Williams, F. Vendekind and so on. He has also appeared in over 30 feature films and 12 TV series. Since 2008, he has directed 8 theatre plays in several major venues in Athens. He was awarded best stage actor of Greece in 2008. He has translated from English and Spanish into Greek and published several theatre plays. He is also known for supporting charitable institutions such as Therapeutic Riding Association of Greece, The Smile Of The Child, Animal Welfare Organizations etc. He has been teaching acting on stage and in front of the camera using his own technique based on animal archetypes for the last 8 years in various Drama schools and healing centers. In 2010 he founded the Emporeios Workshops on Nissyros island in the Aegean sea.
Improvisation Through the use of theatre games, improvisational exercises, and scene work, the actor learns to leap past boundaries and move forward into strong choices in role playing, characterization, and interrelating. It is a class to explore freedom of imagination and experience acting.
Improvisation to Scene A dynamic class that will liberate the actor from self-consciousness and self-doubt. The structure improvisations will explore the paramount importance of the objective and nurture an instinctive, highly personal and original approach to the art of acting.
Improvisation to Scene II Looks at characters from play texts and explores their backstories and given circumstance with structured improvisation to deepen the actor's understanding and personal connection to their work. Strengthens listening, encourages a more instinctive , spontaneous approach to working, and liberates the actor from inhibition.
Shaunnie Smith (Improvisation) Shaunnie is a native of Southern California. She has trained with UCLA's Theater Actors Apprenticeship Program, Charles Conrad Studio, The Casting Break and Barbara Beneville's Just Breathe. Theatre credits include Oedi, Father of the Bride and You Can't Take It With You. In television, Shaunnie has appeared in Comedy Central's Strip Mall, as well as commercially. When she joined the Hauska Comedy Troupe, she discovered her love for Improv. With Hauska, she had the privilege of performing at The Comedy Store and The Ice House. Shaunnie continues Improv performing with the Turning Point Improv Players under the direction of Pat Dade.
Robert Sprayberry (Musical Voice) Robert is a post-graduate in music composition and conducting from The Guildhall School of Music & Drama in London, England has worked in theater, modern dance, film and TV for years. While studying overseas he spent time in Paris, France where he studied composition with the renowned Nadia Boulanger. Robert has written original scores for over 50 theatrical productions worldwide. In musical theater Robert was the musical director/conductor of the west coast premier of the Tony Award winning Rent with Neil Patrick Harris (for which he received the Dramalogue Award for musical direction) . Other national tours include Elton John's Aida; the Gazelle National Tour of The Lion King followed by the stage adaptation of High School Musical for Disney Theatrical. Coming full circle he was most recently the associate touring Conductor for the National and International tour of Rent-"The Broadway Tour" featuring many of the original cast members. He has also toured and performed with various artists including Rupert Holmes , Chaka Kahn, Sam Moore, Patty Smythe and Eddie Fisher. In 1998, his stage musical adaptation of They Shoot Horses, Don't They? (music & additional lyrics) received it's world premier at the Denver Center Theater and subsequent NYC production at The Manhattan Theater Club (receiving the Richard Rodgers Award from the American Academy of Arts and Letters). In television Robert has composed for many TV series and films including The Invisible Man, Red Dwarf, Mysteries From Beyond The Other Dominion, Remember Wenn, Quick and Bodily Harm He has served as Composer-in-Residence for The American Dance Festival and received numerous nominations for Bessie Awards, the modem dance equivalent of the Tony.
A program designed to help the actor find and explore the use of their voice in a musical theater context. "Give me a great actor that can sing a little over a great singer that can't act!" - Stephen Sondheim. Learning vocal techniques to strengthen your voice and build confidence. Breathing, phrasing, lyric interpretation and delivery. Choosing songs. Understanding your instrument.
Ché Walker (Improvisation to Scene) is a graduate of Webber Douglas Academy of Dramatic Art. He has notched up over forty professional Television Acting Credits and appeared in ten professional stage plays, before becoming a playwright. His first play Been So Long premiered at the world-renowned Royal Court Theatre in 1998, and subsequent translations and productions include New York, Los Angeles, Seoul, Paris, Dortmund, Oslo and Copenhagen. His second stage play Fleshwound premiered at the Royal Court in 2003, and won both The George Devine Award for Most Promising Playwright and an Arts Council Writer of The Future Award. Crazy Love his play for Paines Plough Theatre Company, premiered in Oran Mor, Scotland before transferring to The Shunt, central London in 2007. In 2008, Che Walker made theatrical history when his play The Frontline became the first contemporary-set play to be performed at Shakespeare’s Globe Theatre in London since Merry Wives of Windsor in 1597. Other writing credits include In 2009, The Frontline(2009), Lovesong (2010) and The Eighth (2011). Che has taught acting at RADA, Central School for Speech and Drama, East 15 and the Arts Project for Socially Excluded Youth. He was also Head of Acting at the Weekend Arts College for over ten years. He has taught writing for the Royal Court Young Writers' Programme, in the Feltham Young Offenders' Institute, at the Centre Point Homeless Shelter, and for Hampstead Theatre Youth Project.
To apply you must be 18 years of age and/or have completed high school, please submit an on-line application with the following documents
High School Diploma
One letter of recommendation
Personal statement of purpose
Once you have submitted your application you will be contacted to set up an interview (either in person or via phone)
There is a one time non-refundable application fee of $30 and a non-refundable registration fee of $100 upon enrollment.
Read Below to find out all the important info regarding enrollment and payments.
how to apply
Applicants do not need to audition to apply for classes. Instead, students are evaluated at the end of every term by the faculty, pending evaluation, student may move up-ward in the program.
Tuition: U.S. students may enroll in the two-year program or take individual classes. The cost of the two-year program is $36000. There are six terms per year for a total of twelve terms. Each term's tuition is due no later than one week before the first day of classes. If you are interested in taking individual classes, please see our website for individual class costs.
Split-Payment Plan: A split-payment plan may be arranged for eligible students. There is a $45 fee for the Split-payment plan. The student agrees to pay one-third of the total balance no later than one week before the first day of classes. The second payment is due three weeks after the first day of classes. The final payment is due three weeks after the date of the second payment. The split-payment fee of $45 will be automatically added to the terms invoice if payments have not been made in the first week of the term.
Tuition must be paid either by bank wire, cash, personal check, credit card, cashier's check, or money order made payable to Stella Adler. These are the only acceptable forms of payment.
Stella Adler Academy of Acting and Theatre-Los Angeles is not accredited by the Federal Government. A student enrolled in an unaccredited institution is not eligible for federal financial aid programs.
To apply for full time studies you will need to complete and on-line application and provide the following info:
A copy of your passport (this must be clear and legible).
A bank statement with proof of $30700, from whoever will be supporting you while you are in the states. This includes tuition ($18,700) and the government minimum required for living expenses ($12,000) for one year.
A $160 application fee (this also covers the fed-ex required to send you any important immigration documents).
Copy of high school diploma or equivalent
One Letter of Recommendation.
Statement of Purpose
Please read below for valuable info on student visa policy.
Choosing to study in another country is a daunting process. Please feel free to contact us with any questions or concerns you may have.
As an International Student, you will receive an M-1 visa valid for one year.
M-1 Students are required to be enrolled Full Time.
Your visa will be extended for the second year upon passing an audition.
At the end of your program you can apply for Optional Practical Training (OPT) for up to six months. Once approved you are able to work in the US. Our office will help you with the application.
You may not take a term off, unless it is for medical leave.
All embassy and SEVIS fees are the responsibility of the individual student.
All international students without their own bank account shall be represented by a financial guarantor. Said guarantor is responsible for all monies and will be notified should any problems arise, including but not limited to monies, behavior, withdrawal, dismissal, and visa status.
The cost of the two-year program is $36,000.
Tuition may be paid by the term. Each term's tuition is due no later than one week before the first day of classes.
Tuition will be paid either by bank wire, cash, credit card, cashier’s check, or money order made payable to Stella Adler. These are the only acceptable forms of payment.
Please note: International students may not work while in the United States.
Once you have submitted your application you will be contacted to arrange a skype interview.
If accepted to our program we will issue you an I-20 form which you take to the American Embassy in your country to apply for your Student Visa.
The Nitty Gritty.
Applicants must be at least 18 years of age and/or have a high school diploma or its equivalency. Students must provide diploma or proof equivalent upon application. You are required to supply a copy of your diploma upon registration.
Proficiency in English is required. Stella Adler Academy of Acting and Theatre-Los Angeles does not provide English Language services.
Students are allowed two excused absences per term (three lateness’s =one absence). If excessive absences occurs in a term students may be asked to retake the class in the next available term.
Probation and dismissal: For 3 or more missed classes you will be put on probation for the next term of study. Excessive absences, tardiness, drug or alcohol abuse or sexual harassment is grounds for immediate dismissal. Class cuts are not allowed.
American full time students may take a leave of absence, they must inform the office both before they leave and when they wish to return.
Students are evaluated at the end of every term by the faculty, pending evaluation, student may move up-ward in the program.
Re-application procedures: Any student who previously applied and elected not to register or was denied admission, and/or any student who withdrew or was dismissed must re-apply as per normal admission requirements.
Any complaint or issue a student has may be submitted in writing or the student may arrange a meeting with the office or executive director.
Because casting is such a subjective process it is impossible for Stella Adler Academy of Acting and Theatre-Los Angeles to guarantee employment. However, the Adler does offer services to help students cope with the industry. These include: knowledgeable staff and faculty who provide info about managers/agents/auditions, audition notices, manager/agent workshops, and free info sessions.
If a student obtains a loan to pay for an educational program, the student will have the responsibility to repay the full amount of the loan plus interest, less the amount of any refund and that, if the student has received federal student financial aid funds, the student is entitled to a refund of the moneys not paid from federal student financial aid program funds.
We are located in the heart of Hollywood.
Moving to Los Angeles
Depending on your lifestyle there are many places to live in walking distance from the Academy.
Studio Apartments: $850-$1000 per month
One Bedroom: $1100-$1400
Two Bedroom: $1400+
Keep in mind, there may be additional expenses for utilities (gas, electric, water) and WIFI. This can add an additional $50-$100 to your monthly total.
Pay as you go: $40-$50 per month
Contract: $45-$100 per month
When searching areas the key word would be ‘Hollywood & Highland’
The further WEST you go the nicer the area. But in general, we do not recommend living further than West Hollywood, due to travel time and cost of parking (there is good public transport between West Hollywood and Hollywood).
If you need details on housing or would like to be included on the roommate list, please contact us.
Temporary Housing Solutions: www.highlandgardenshotel.com This hotel is right up the street from us. They give short term and long term rates. Remember to mention you are at Stella Adler Academy of Acting and Theatre-Los Angeles (ask to speak to a manager as they have given really good deals to students in the past).
www.chateaudesoleil.com Located in North Hollywood, this long term/short term hostel . Many of our students have stayed here and really like it. It is located in North Hollywood and is 2 stops away on the red line (train).
We do not provide dormitory facilities or housing services but we are happy to help incoming students meet each other (and point you in the right direction), as moving to a new city or country can be daunting.
phone: 323.465.4446 fax: 323.469.6049
All classes are held at
6773 Hollywood Blvd, 2nd Fl,
Hollywood, CA 90028
Monday-Friday 9am through 6pm