TEACHER TRAINING
CLICK TABS BELOW FOR DETAILED INFORMATION ABOUT TEACHER TRAINING
It is common practice to identify the body of work developed by a master teacher with the last name of its founder. We have Stanislavksi, Alexander, Laban, Leqoc, Meisner, Strasberg, Adler, Hagen, Barry, Linklater, Lessac, Fitzmaurice, Rodenburg and others. Many teachers trained in these systems do not label the work they teach as their own; but rather, apply the creator/founder's name to the work that they practice: “I'm a so-and-so teacher.” or “ I teach so-and-so.” Individuals who never knew Sandy Meisner passionately insist that they are “Meisner trained.” I, personally, have always been at somewhat of a loss when introduced to a new colleague that the inevitable second question is always: “What method do you teach?”
Over the past twenty years, I too have developed a unique body of work commonly called the Lugering Method. The work is as original, thorough, comprehensive and progressive as the work of other master teachers who developed similar systems of training. It is the one of the first of its kind to offer an integrated system of voice, body and acting training that is rooted in the principles of human expression. At this time, the Lugering Method is only taught in a few actor training programs in the United States (although the method has had significant exposure in the United Kingdom and my book was recently translated into the Korean language). At this juncture, what interests me most passionately is the possibility of bringing this innovative work to a wider audience and watch it grow, but more importantly; to foster a larger discussion about the importance of integration as the unifying foundation for the comprehensive training of the “total actor.” It seems that a teacher certification program is a necessary and justifiable step in this right direction.
In the past, the university environment provided rudimentary voice and movement training. Voice and movement specialists were few and hard to find. Voice training in particular was taught with a speech communication/oral interpretation focus without a specific emphasis on actor training. Similarly, dancers most often crossed over and taught actors movement classes. Today voice and movement training has become more specialized and comprehensive, developing a level of respect not experienced before--thanks to VASTA, the ATME and other pioneering theatre practitioners. Most graduates of contemporary actor training programs have anywhere from 4-7 years of specialized and intensive voice, movement and acting training under their belt upon graduation. Consequently, many well-trained students with an interest in teaching come to teacher training with more experience than ever. Almost all have a foundation in a host of universal principles: awareness, impulsivity, spontaneity integration, alignment, economy, strength, flexibility, resonance, respiration, range, and action. I suspect this was not the case when early pioneers began to train teachers. A contemporary teacher-training program must acknowledge that most individuals do not come to teacher training on the ground floor, but are already out of the gate and on their own way. In fact, many well-trained actors wi
The 21st century is dawning. Whether, we like to admit it or not, integration remains a proverbial buzz word in actor training and not a consistent practice. There is much more to be done. It is my hope that the next generation of actors will develop a unified method of training that is too broad and comprehensive to be labeled as either physical or psychological, internal or external-where the content of acting, voice and movement classes will mix, mingle and overlap and often become indistinguishable. The actor will not study acting, voice and movement in pieces and parts, but the integrated act of expression itself.
As I look to the future, it is most important to celebrate the past. All “new methods” are a complex integration of much of what has gone on before. Each of us is a unique amalgamation of our past training and experience--the past creates the future. As Professor C. D. Burns reminds us in his article “The Sense of the Horizon" change is always an integration of the old and the new:
"The experience of any moment has its horizon. Today's experience, which is not tomorrow's, has in it some hints and implications which are tomorrow on the horizon of today. Each person's experience, maybe added to by the experience of other persons, who are living today or had lived before; and so a common world of experience, larger than that of one's personal observation, can be lived by each person. But however wide it may be, that common world also has its horizon: and on that horizon new experience is always appearing."
If you are selected to participate in an teacher training program at the Expressive Actor, the most important requirement is a passion for the integrated exploration of the physical life of a thought and feeling in the voice and body. This simply directive will integrate our journey.
Warmly,
Michael Lugering
Founding Director/Master Teacher
An individualized Teacher Certification Program typically includes the following:
PRACTICAL EXPERIENCE--through participation in various workshops and master classes taught by authorized teachers in the Lugering Method.
INTELLECTUAL STUDY--a broad and comprehensive knowledge of the current theoretical, practical and experiential practices of voice, movement and actor training. In particular, a detailed familiarity with the references and resources outlined in the bibliography of the book THE EXPRESSIVE ACTOR: Integrated Voice, Movement and Actor Training, which forms the foundation of the method.
INDIVIDUALIZED STUDY--with Master Teacher Michael Lugering or an appropriate designated representative.
OBSERVATION--the final step in the certification process involves the observation of the candidates teaching methods by Master Teacher Michael Lugering or an appropriate designated representative. Final certification is granted when the following criteria are successfully demonstrated:
A comprehensive knowledge of the Principles of Expression
A comprehensive knowledge of the Principles of Voice and Body
A comprehensive understanding of the Improvisational Studies
The ability to successfully teach Voice and Body Technique Classes
The ability to successfully teach Improvisational Studies
A demonstrated ability to practice hands on instruction and the use of touch as
related directly to the teaching of the Lugering Method
The development of a teaching style that views permission and acceptance of the student as the foundation for instruction, correction and criticism.
Individuals who have studied the Lugering Method extensively may be invited to join the Expressive Actor Faculty. Currently, there are four types of faculty members:
Certified Teachers have extensive training and preliminary teaching experience in the Lugering Method.
Interested applicants should send an email which includes the following:
1. Statement of Intent
2. Resume/Vita
3. Headshot (optional)
EMAIL
CLICK ICON
1. Statement of Intent
2. Resume/Vita
3. Headshot (optional)
CLICK ICON
"The desire to think first and sense second is endemic to our culture.
The more I teach and explore I find that I am increasingly less interested in how thoughts
influence my body and voice, but rather how my body and voice influence my thinking.
When this occurs the mind learns to make accommodations for the body;
and the voice and movement studio simultaneously becomes an acting studio."
--Michael Lugering, THE MOVING VOICE 
