Integrated Voice, Movement and Acting Training
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If actor training is to meet the demands of a new century, a truly postmodern understanding of technique must emerge. Most importantly the actor's physical and psychological education must be synthesized into a single method of training. The next generation of actor trainers will develop a unified method of actor training that is too broad and comprehensive to be labeled as either physical or psychological, internal or external--the content of acting, voice and movement classes will mix, mingle and overlap and perhaps become indistinguishable. The actor will not study acting, voice and movement in pieces and parts, but the integrated act of expression itself. Someday in the not too distant future acting, voice and movement teachers will work as a team sharing a common vocabulary, a similar method of training and perhaps a single technique.
--Michael Lugering The Expressive Actor |
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2010 Summer Teacher Training Program
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I come to a certification program with much enthusiasm and some serious reservations. Methods of teacher certification remain very controversial. It seems anyone venturing to do it is likely to be criticized for one reason or another. Some programs take several years to complete and cost tens of thousands of dollars. Others are shorter and less detailed. Many longer and more expensive programs foster a “dogmatic approach,” requiring a serious doctrinal commitment on the part of the participants. There is often an insistence on strict acceptance of the philosophies and practices of the method being studied. Paradoxically, the vast majority of actor trainers use eclectic methods in their classrooms. Happily, other programs foster a more flexible and “ecumenical approach.” Yet, all promise to teach universal truths that cannot be expressly owned or even copyrighted (the Pilates Method was denied an official trademark patent by the United States government in 2000). Suffice it to say certification programs and ownership of a training method is a sketchy business. As we all know, and at times lament, it is common practice to identify the body of work developed by a master teacher with the last name of its founder. We have Linklater, Lessac, Fitzmaurice, Alexander, Feldenkrais, Leqoc, Laban, Stanislavski, Meisner, Strassburg, Adler, Hagen-and perhaps Lugering. 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 Linklater teacher.” “ I teach Alexander.” 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 teacher who developed similar systems of training. It is 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. Alas, the times they are a changin' and so is teacher training.” In the past, the university environment provided rudimentary voice and movement training. Voice and movement specialist 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--much 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 pioneers like F. M. Alexander and Kristin Linklater first 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 with experiences in other systems pick up on the theory and practice of my work very quickly. Developing a certification program that accepts qualified candidates and respects each individual's unique experience and perspective is just. Past experience is not a hindrance or an obstacle, but essential. At the same time, it is important not to turn teaching training into some type of factory for individuals simply looking for credentials. The Teacher Certification Program at the Expressive Actor is not a one size fits all program. Consequently, each individual depending on their particular strengths, experience and level of expertise must chart a unique course of study. A typical path towards certification may take two to three years to complete. Consequently, the cost of the program varies depending on each individual's unique course of study. 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: "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 choose 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 thought and feeling in the voice and body. This simply directive will integrate our journey. Warmly Michael Lugering Founding Director/Master Teacher |
| Teacher Certification Program
An individualized Teacher Certification Program typically includes the following: A comprehensive knowledge of the Principle 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 lead Improvisational Studies A demonstrated ability to practice hands on instruction and the use of touch as
Training Designations 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: For more information on Teacher Training contact:
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