Course Descriptions

FIRST TERM

ACT101 - FILM HISTORY 1
Goal: Actors must be familiar with the history of their working medium, and understand the basic conceptual principles under which it operates. Students will examine the development of the cinema decade by decade, from its origins to the present day, concentrating on genres, techniques, and the work of film masters, all in context of the social environment which impacts directly upon film as an art form.
Objective: 1) To understand cinema history, the major genres, and how the industry works; 2) To grasp various aspects of cinematic language, as well as early and modern advances in film technique and technology.

ACT102 - ACTING THEORY 1 – INTRODUCTION
Goal: We will explore the actor’s work in terms of the personal and group dynamics as well as professional industry standards. Technique and concept areas to be introduced include: warm-ups, risk-taking, awareness/journaling, monologues and the basic tool of improvisation. We will also begin to introduce some of the main components of techniques we use most over five terms: essential Stanislavski, Michael Shurtleff, Sandford Meisner and Uta Hagen, and highly successful contemporary approaches. We will bring a contemporary blend of proven training systems to the beginning actor’s toolbox over the course of the program.
Objective: 1) To commit to a practical approach to the work; 2) To begin to work comfortably with others; 3) To recognize the obligations of the professional workplace; 4) To appreciate the necessity of incorporating several disciplines into the individual’s approach to acting as a life-long development.

ACT103 - VOICE PRODUCTION 1
Goal: We are all born with beautiful, open voices. As we grow, personal and societal influences cause us to mask our voice. An actor requires as free and expressive a vocal instrument as possible. The purpose of work on the voice is to create a transparency for emotions, intentions, words, desires and images. A variety of texts will be used to explore techniques for approaching the written word.
Objective: 1) To work through the first half of a basic Linklater Technique warm-up, focusing on breath, spine and total body awareness.

ACT104 - PERFORMANCE HISTORY 1 – RITUAL TO REVOLUTION
Goal: Actors have inherited a rich and noble tradition. This course traces the development of live performance, from its origin in tribal and religious ritual, through the communal and populist activity of the Middle Ages, the rise of humanism and the National Theatres in the Renaissance, and culminating in the revolutionary innovations of the 19th Century: modern acting method (Stanislavski), Psychological Naturalism (Chekhov), and the Theatre of Ideas (Ibsen).
Objective: 1) To understand the history of the actor’s craft; 2) To gain insight into the impact that changing social values have on modes of performance as a profession and art of expression.

ACT105 - MOVEMENT 1 – THE PHYSICAL INSTRUMENT
Goal: The body is the actor’s primary instrument of expression. Movement 1 will focus on various exercises to free the body to respond to its natural impulse to move. We will encourage a non-performance, nonjudgmental atmosphere in which students are encouraged to risk in order to discover. Ongoing reference to the Alexander Technique is a program element.
Objective: 1) To free the body (risk); 2) To drop into the body (open); 3) To accept the body as an intuitive guide (trust); 4) To make a physical and emotional connection to this primary instrument of communication.

ACT106 - CAMERA ACTING LAB 1 – FRAME CRAFT
Goal: The fundamental requirement of film and television actors is the ability to adapt to different camera shots. Knowledge of how to “work the frame” gives actors a competitive edge at auditions and increases the likelihood that their work will end up in the final edit, rather than on the editing suite floor. Students will work with fully blocked monologues, shot in wide shot, medium shot, and close-up.
Objective: 1) To recognize the purpose of each shot; 2) To know how to adapt performance to each shot.

SECOND TERM

ACT121 - FILM HISTORY 2
Goal: We hope to be working actors in the Canadian Film Industry, so we must be familiar with its history and practices. Current trends and economic realities will be examined with a view to preparing the actor for a realistic and effective approach to the film workplace.
Prerequisite: ACT 101
Objective: 1) To know the achievements and challenges of building a cinema tradition in Canada; 2) To understand the important contribution of film to our national culture.

ACT122 - ACTING THEORY 2 – CHARACTER STUDY
Goal: The film set and the theatre stage both demand that an actors can construct complex, truthful characters, and “on the day” enter into their characters quickly and thoroughly. The student studies a range of techniques and improvisational approaches for building characterization, “dropping into the character,” and then leaving it behind when the work is done. This course sometimes invites working actors and directors to collaborate with the student actors as scene partners, coaches, and mentors.
Prerequisite: ACT 102
Objective: 1) To combine the techniques of Acting 1 and 2; 2) To be able to produce fully realized truthful characters.

ACT123 - PERFORMANCE HISTORY 2 – 20TH CENTURY
Goal: We now explore 20th Century Issues and Idioms, as a rapid shift in social dynamics, including political fragmentation and technological acceleration, profoundly affects and redefines trends in performance. In this course, students will examine the establishment of a range of “isms” which create conflicting concepts of the purpose of performance in a societal context. This course also challenges students to begin to define for themselves their ethic and identity as contemporary actors and creative artists. And we return to where we began in Performance History 1: the social and individual role of the (contemporary) Shaman.
Prerequisite: ACT 104
Objective: 1) To understand the social dimensions of the twentieth century cultural environment; 2) To understand the resulting dynamic shift in modes of performance; 3) To recognize that the actor always works in a social and political context; 4) To encourage the commitment to an individual identity and a communal ethic.

ACT125 - SCRIPTS TO STORYBOARDS
Goal: This course recognizes the dynamics of Dramatic Structure and the language and economy of Script Format as the departure point for the actor’s ability to work in a collective production setting. Then our study centres on the relationship between Text and Subtext. The techniques of Stanislavski Text Analysis are at the core of what an effective actor must understand and control; the acquired practical vocabulary includes Objectives, Units, Circumstances, Beats, Obstacles, Strategies, Turning Points, and Outcomes. Finally, we examine The Storyboard used in film, remembering that the screen is essentially a visual medium, and that the audience mainly listens and understands with its eyes.
Objective: 1) To understand Dramatic Structure; 2) To understand script format; 3) To be able to apply Stanislavski Script Analysis techniques; 4) To recognize the strengths and constraints of working in a largely visual medium.

ACT126 - MOVEMENT 2 – PHYSICAL CHARACTERIZATION
Goal: Movement 2 will focus on creating a character through movement, emphasizing the physical manifestation of psychological considerations. The work will be based on listening as an art form, not just looking, but perceiving the inner world of the character.
Prerequisite: ACT 105
Objective: 1) To demonstrate a comprehensive understanding of the process for creating a character; 2) To gain access to a wide range of physical resources; 3) To utilize the ability to create truthful characters from a personal source.

ACT127 - CAMERA ACTING LAB 2 – SCENE STUDY
Goal: Actors must learn to reveal the complexities of interaction, to manifest the arc of each scene, and to deal with the fractured jigsaw puzzle of cinematic construction. Students will work on scenes, each of which will be fully blocked and shot in master shot with coverage shots. To reflect the realities of the industry, we will limit the number of takes per shot and shoot coverage out of sequence.
Prerequisite: ACT 106
Objective: 1) To confidently approach scene work; 2) To accurately interpret scene text; 3) To delve into detailed inner monologue; 4) To effectively prepare for a range of shots.

THIRD TERM

ACT141 - ACTING THEORY 3 – DEVELOPING A ROLE
Goal: It is not enough to simply be able to do good scenes; actors must learn to how to relate one scene to another to create a sustained character journey through the script. What happens in the portions we don’t see? -- either in existing scenes (not performed in this project), or storyline interval situations and conditions insinuated but not explored in the original script material. In this course, students will work on brief scenes from different parts of a full-length script, playing the same character in each scene selected.
Prerequisite: ACT 122
Objective: 1) To play the same character in different scenes from an extended script; 2) To understand the strategies for constructing a cohesive arc of development from scene to scene.

ACT142 - DIRECTING 1
Goal: If actors understand the role of the director, they will better understand their own contribution as actors to the success of a production. Watching other actors perform for you gives a clear sense of the issues that govern a shoot performance: frame selection, staying in character until “cut” is called, deepening revelation of a character beat, and so on. In this course students are allowed a hands-on experience with major on-set departments, including camera, sound, and continuity, all from the director’s point-of-view.
Objective: 1) To understand how a set operates; 2) To reinforce respect for essential teamwork; 3) To gain insight into the thinking and strategy of the director.

ACT143 - DIALECTS AND SPEECH SOUNDS 1
Goal: Versatility with dialects expands an actor’s casting range in the highly competitive performance industry. Dialects and Speech Sounds 1 will introduce the International Phonetic Alphabet (IPA) to support the study of speech sounds (vowels, diphthongs and consonants). This course will focus on Standard North American dialect, and teach techniques for learning other dialects of English.
Prerequsite: ACT 124
Objective: 1) To learn to tune their hearing to the production of speech sounds; 2) To understand standard North American speech; and, where necessary, 3) To begin the process of reducing regional and foreign dialects to help prepare for a career in Canadian and U.S. film and television.

ACT145 - MOVEMENT 3 – MOVEMENT, BREATH AND SOUND
Goal: An actor always works “in relationship” in a weave of impulse, breath and sound. We now focus on physical connection with others, exploring both trust and silence. Using breath to open the flow of internal movement, students will learn to express their impulses.
Prerequisite: ACT 126
Objective: 1) To create physical relationships with others; 2) To overcome physical blocks of expression; 3) To use breath to open the flow of internal movement.

ACT146 - CAMERA ACTING LAB 3 – AUDITIONING FOR FILM AND TELEVISION
Goal: Auditioning is of course the essential skill for landing the opportunity to work in the film and television industry. There are never any guarantees; you cannot control what they are looking for, you can only show them what you’ve got. Your agent will expect every casting director to recognize and remember both your professional decorum and your intelligent reading of the required material, all under intensely precarious conditions. A surety of technique results in the confidence required to prepare and (possibly) nail the audition. In this course, students will undergo practical auditions for film as well as commercials.
Prerequisite: ACT 106
Objective: 1) To prepare appropriately for auditions; 2) To know the difference between film and commercial auditions; 3) To confidently demonstrate professional attitude and decorum; 4) To follow the industry protocols expected by casting directors and agents.

ACT147 - VOICE PRODUCTION 3
Goal: Work on an actor’s voice is a continuous exploration of methods for identifying and releasing tension. Voice Production 3 deepens the work of VP1 and VP2. Students will explore vowels and consonants in terms of sound and movement. This course is taken concurrently with Dialects and Speech Sounds 1. An assortment of assignments will be used to expand each student’s awareness of how they use their voice.
Prerequisite: ACT 124
Objective: 1) To identify areas of personal vocal and physical tension; 2) To start to develop methods to cope with each specific tension area; 3) To begin to design a personalized vocal warm-up.

FOURTH TERM

ACT201 - ACTING THEORY 4 – IMPROVISATION
Goal: Beginning with Stanislavski, actors have used improvisation as the basic approach to all authentic dramatic performance. The ability to improvise is an essential skill for actors in commercials, in television and film, both independent and mainstream, and of course for the stage. In this course, students will do scenic etudes to explore scripted material, as well as create original scenes through improvisation, culminating in a cabaret or revue performance.
Prerequisite: ACT 141
Objective: 1) To improvise with creative discipline; 2) To grow in confidence and risk; 3) To engage an audience with vitality.

ACT202 - VOICE OVER & NARRATION
Goal: Voice Over is a potentially lucrative field in the Canadian film and television industry. The opportunities are numerous in voice over for television and radio commercials, animation, documentary and corporate video narration, looping and ADR (additional dialogue replacement). Students will receive hands-on, in studio instruction.
Prerequisite: ACT 147
Objective: 1) To apply dynamic control of their vocal instrument to a range of Voice Over disciplines.

ACT203 - DIRECTING 2
Goal: This course examines the aesthetic theories and master works of major directors who have shaped the cinematic language, leading the actor to appreciate the sensibilities and innovations of film auteurs and practitioners. On the practical level, students will create a brief film project to experience the complexity of bringing a concept to fruition.
Prerequisite: ACT 142
Objective: 1) To comprehend the progression of preproduction, production, and post-production in the filmmaking process; 2) To further experience the necessity of committed cooperation and collaboration on set.

ACT204 - MOVEMENT 4 – CREATIVE IRREVERENCE
Goal: “Actors never make mistakes, they only make discoveries.” This term blends the improvisation of Term 4 with similar risk-taking from a movement/physical-based perspective. We explore a wide range of movement/character with wild abandon, throw out all the usual rules and self restrictions, and live in the moment. European Theatre Clown is often incorporated, as well as the Laban Movement System. As a complete counter-point, a short unit in Stage Combat may also be undertaken.
Prerequisite: ACT 145
Objective: 1) To be open to discoveries; 2) To take authentic risks from a physical place; 3) To combine a sense of security with the value of vulnerability.

ACT205 - CAMERA ACTING LAB 4 – NON-SEQUENTIAL SHOOTING
Goal: The difficulties of constructing a consistent arc of character development throughout a script are magnified by the fact that film and television projects are shot out of sequence. In this course, students will be given several scenes in which they play the same character, and the scenes will be shot out of sequence. We will focus on how to understand the changes in character and relationship from scene to scene. Students will learn how to organize their acting processes to create truthful character journey in the non-sequential shooting format.
Prerequisite: ACT 146
Objective: 1) To understand character change and relationship from scene to scene; 2) To organize the acting process to create a truthful character journey.

ACT206 - DIALECTS AND SPEECH SOUNDS 2
Goal: Dialects and Speech Sounds 2 will continue to expand the student’s ability to utilize different dialects. A sampling of approaches will be used to explore methods of learning dialects. Potential dialects, based upon the needs of the group, may include: Received Pronunciation (R.P.), Cockney, Irish, Southern and/or New York.
Prerequisite: ACT 143
Objective: 1) To identify their most successful method of learning a dialect; 2) To demonstrate a facility in the use of the IPA to delineate a dialect.

FIFTH TERM

ACT221 - DEMOS AND PROJECTS
Goal: The culminating class project is the major “thesis” or demonstration experience of all we have learned about the craft of Acting at Toronto Film School. We either develop a series of monologues and scenes that we shoot in a formal studio setting in order to create for each student viable material for an eventual demo reel (original material must be used) or we opt for a Film Project, in which we move as a team through all the creative aspects of a small film company, through script development, handling various technical duties and pre-production elements, and, most importantly, oncamera performance of substance and range. The result is a High Definition Short Film of quality, either in-house scene work from a professional script, or, if an original script is used, the student might take away a performance excerpt for a future demo reel. A product of outstanding quality might be considered for Festival release – it’s all up to the troupe, and their sense of hunger, self-discipline, and respect for the complex collaborative craft of film-making.
Prerequisite: Terms One to Four
Objective: 1) To acquire a working knowledge of the complex and interwoven elements that go into film production; 2) To develop “set etiquette” disciplines and codes of behaviour that will earn them respect (and rehires) on a professional set; 3) To appreciate precise skills on camera such as continuity issues, maintaining focus over long work hours, relationship with technical colleagues, etc.

ACT222 - ARTIST MANAGEMENT & PROFESSIONAL DEVELOPMENT
Goal: Actors need to see themselves as a business-of-one in an unpredictable workplace. Thus they take responsibility for managing their own careers in an effective and efficient manner. An informed practical approach includes understanding topics such as headshots, resumes, approaching an agent, working with casting directors, the activities of professional organizations and unions (ACTRA, EQUITY), self accounting procedures, and the need for further and ongoing artistic training. The course includes visits from or with industry representatives.
Prerequisite: Terms One to Four
Objective: 1) To understand the business aspect of their industry; 2) To practice effective and practical artist management.

ACT223 - FILM AND TELEVISION ACTING STYLES
Goal: We have worked in the first four terms mainly on stage and film techniques. Yet Canadian actors have more opportunities for television performance than for film (the opposite of the U.S. market). Learning the rhythm and contrasting technical issues of television drama results in a different set of choices for performance. Elements such as a different approach to inner monologue, fewer takes, multiple camera angles and shorter reaction shots, are examined in a fully equipped T.V. Studio run by a television director-producer with a crew of Broadcast Program students. Genres include drama, action drama, and situation comedy.
Prerequisite: ACT 205
Objective: 1) To recognize the different audition preparation required for Television actors; 2) To respect the tempo and decision making mechanisms that rule the television studio workplace; 3) To gain confidence in working on set in future with more seasoned television performers.

ACT224 - MOVEMENT 5 – THE DANCE: MOVEMENT IN RELATIONSHIP
Goal: Using the Dance as an all-encompassing staging metaphor, the final term in Movement brings the Self, the Other, and the Ensemble into focus and cohesion. Our work culminates in a collectively created Movement Theatre piece for public presentation. We add the elements of sound and/or text, to expand our range and realize our power of presence.
Prerequisite: ACT 204
Objective: 1) To work closely together with an ensemble mentality; 2) To acknowledge five terms of movement development in a polished public performance.

ACT225 - VOICE ATTUNEMENT
Goal: Voice Attunement will conclude the student’s journey through a condensed vocal training. It will revisit the basics of the classic Linklater Warm-up and Standard North American dialect as well as address individual student needs, while working on a variety of texts. It might also explore a special voice topic such as singing while following and extending the principles laid out in Voice 1 through 3.
Prerequisite: ACT 147
Objective: 1) To handle a range of vocal challenges with confidence; 2) To continue on the long-arc journey of developing their unique, individual voice.