Having observed Ioan Ardelean introduce a class of college freshman acting students to the Suzuki method, I can vouch that his calm, clear, simple way of connecting to the students, his exacting attention to detail, his physical flexibility and control, and his ability to do everything he describes are all truly impressive. I found myself watching to the students—they were mesmerized with concentration.
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Constructing Permanent Present
Introductory Weekend Workshop, Full 6-Week Workshop
Constructing Permanent Present focuses on the kinetic application of movement in acting by using core energy, breathing exercises, flexibility, stamina, range of motion, stillness, movement, and relaxation techniques to strengthen the creative output. The course teaches actors, through a series of intensive exercises, enhanced awareness, and total control of the body.
Constructing Permanent Present (CPP) has three levels approach.
1. The first level is working on technique. Actors learn the fundamentals of voice, vocal production, and vocal expression. This step is built to cultivate vocal-physical development and sensorial acuteness, to help actors discover their vocal potential, to reduce obstructive physical habits and tensions in order to move towards controlled, full-range voices. Actors will begin to understand, in themselves, the connection between thought/impulse/idea, voice, communication, and audience. The first level is also designed to make actors understand the importance of engaging the body as an expressive tool in support of artistic craft and technique. This is all in order to build confidence in their ability to translate creative impulses through physical action.
2. The second level invites the actors into a totally free improvisation that awakes and develops listening skills and increases the ability to make discoveries. By digging into the acting roots, using a range of techniques, and building their own vocabulary the actors begin translating their imagination into stage action and turn psychology into behavior.
3. In the third part of the workshop, actors, working as a small performance company, begin learning the principals of collaborative theater making. Acting and performance are central to the process, but so is the recognition that a performance takes place in a space that has to be invested with rules and conventions before a story can be told. Exploring the possibilities offered by these rules and conventions is key to understanding the potential for theater as a means of expression and mode of knowledge. Combining the tools and techniques of Stanislavsky, Michael Chekov, Jerzy Grotowski, Viola Spolin, Del Close, Tadashi Suzuki and Anne Bogart, actors work in groups to devise and stage silent stories, as well as textual scenes, to identify what it means to create a theatrical experience. All actors participate as directors, performers, designers, and audience. At the end all participants discuss each other’s work in order to develop a clearer and more objective relationship to their own. Actors are storytellers and good storytelling creates conflict and tension around a situation. The audience doesn't care for those characters that do not fight, whether the character is the protagonist or the antagonist. The actor’s partner and the audience follow the story wherever it goes because they want to see the actor win ... or lose.
Actors are storyttelers and good storyttelers creats conflict and tension around a situation. The audiance doesn't care for those characters that do not fight, whether the character is the protagonist or the antagonist. The actor's partner and the audience follow the story wherever it goes because they want to see the actor win ... or lose.