Method

The CISPA acting course has a methodological approach to acting. We’re inspired by the work of various master practitioners of the world-renowned Method.

Specialist practitioners, internationally renowned guest teachers and directors (Danish and international) contribute to a contemporary, synergetic, research-based approach to Method Acting, ensuring unfailing authenticity and practical application for the students: Contemporary Method Acting

Methodological and research-based teaching

At CISPA  we offer an intense and uncompromising acting training rooted in methodological principles.

While approaching methodology investigatively, we stand on the shoulders of the master practitioners of Method Acting, the 20th century interpretation of Stanislavski’s founding principles. Especially Lee Strasberg, Uta Hagen, Michael Chekhov and not least Laban/Malmgren.

Method Acting strives for authenticity of expression. The starting point of the training at CISPA is the being of each individual. The actor is trained to expose and hone the correlation between the physical and psychological elements of human nature, making form and substance mutually complementary. The inner must be manifest in the outer and vice versa. The performing artist must be able to utilise his/her entire sensory apparatus, intellectual capacity, intuitive and instinctive impulses and emotional depth in order that the correlation between body and soul manifest itself in an original artistic expression. The training at CISPA seeks to unlock and investigate these aspects through a highly physical approach. The thought, the word, the text, the line are organic extensions of the sensory and intutive memory of the body.

CISPA’s approach to acting technique is rooted in a holistic outlook on the individual and his/her work as an artist.

In this way, the CISPA training guides the student to develop an existential approach to acting technique. An approach to life and human beings that challenges habitual thinking and fossilised truths about ourselves as individuals. The acting student must learn to tap into and develop this creative state of mind, which is intuitive, rather than cerebral. The CISPA training enables the performer to awaken and draw expressively from this idiosyncratic creative force, then deliberately harness it within a specific artistic form.

This creative force is authentically inherent within each individual, but unites us collectively.

RESEARCH DIDACTIC APPROACH

One of the main tasks, that the Method seeks to solve, is awakening our subconscious and organic nature to artistic creativity

(Konstantin Stanislavskij, 1863 – 1938)

Methodological and research-based teaching

Collectively, the artistic directors and the core group of teachers at CISPA represent many decades of performing, directing and teaching. In recent years, these teachers (of acting technique, singing, voice, dance, movement psychology, scene study, theatre history and rhetorical text etc) have worked closely together across the disciplines. Embracing different methodological traditions that constructively challenge each other, we’ve aimed at finding a common terminology and creating cross-disciplinary continuity and coherency for the students.

To sum up, we have in common a research-based approach to methodological acting technique. We have an extensive cross-disciplinary collaboration where we learn from each other, investigate and challenge habitual thinking. Anchored in a solid sense of tradition and years of experience, our aim is to continually develop our acting methods practically and theoretically. Contemporary Method Acting.

RESEARCH TEACHERS THE TRAINING

Create your own method. Don’t depend slavishly on mine. Make up something that will work for you! But keep breaking traditions. I beg you.

(Konstantin Stanislavskij, 1863 – 1938)