Personal Coaching -  $85

 

John can decipher any script whether it be based in Theatre, Film or TV.  His 41 yrs of working knowledge in script analysis has given him the ability to interpret any text much in the same way that musicians read music. He will guide you through what the possible meanings and clues are in all of the words and how punctuation will give your character a specific rhythm. You will learn how to mold your character’s descriptive words and lists. This applies to both Comedy and Drama. He will pay particular attention to underlying humor which is in most scripts. Finally,  John Basil will guide you into finding your character’s basic needs and actions so the role is based in humanity. 

Monologue Coaching: Speaking the Text.

Speaking and talking are two different ways of communicating. Everyone talks. Speaking is creative argumentation and imaginative debate. All Theatre, TV and Film scripts are based in the Art of Rhetorical Speaking. In Theatre it is all about the words. In Film and television, it is about the silent moments and reactions surrounding the words.  Is your text a monologue or a duologue? With this technique you will learn how to access the “Blueprint” coded in your role. You will understand how to “suit the action to the word and the word to the action”. This will lead you to make gutsy, visceral and authentic choices.  We will then translate your bold stage performance to a more intimate one suited for film projects or self-taping endeavors. In this new format, you will discover how to apply this technique to classical, contemporary, TV or Film scripts.

Scene Coaching.

All the techniques used in monologue coaching session will be applied to the Scene Study Coaching. You will learn the 9 steps to telling a story. All Theatre, TV & Film scripts are character driven. Discover your character’s archetype and how to transform that into a unique performance. John can teach quite a range- from Commedia del’arte to TV sitcoms.  You will uncover according to the archetype, what intentions and actions suit the character.  Depending on what two characters are in the scene determines how it is played. For example, in Much Ado About Nothing, it is one thing if it is Beatrice and Benedick, but a completely different scene unfolds if it is Beatrice and Dogberry. There are different nuances and connotations. The same applies for any TV or Film script. In Seinfeld, it is one story if the characters are Elaine and Jerry. If it is Elaine and Kramer there are completely different outcomes. For “New Girl” Jess and Nick versus Winston and Nick. This works extremely well in both comedy and drama.  Actors are encouraged to explore classical and contemporary work including Film and TV scripts.

Tess Frazer

Basil Rodericks

Akoni Steinmann

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