If You Have Always Wanted To Learn How To Act At The Highest Artistic Level But Currently You Have Little Or No Experience, Then This Five Day Intensive Could Be Just What You Have Been Looking For…
…As Long As You Are Deadly Serious About Acting
Dear Aspiring Actor,
I remember the exact moment when I wanted to become an actor who could create deep and profound work.
I was seventeen years old and sitting on my mum and dad’s sofa at home watching Jack Nicholson in The Shining. To say I was blown away by his authenticity, emotional depth, believability and range of expression is an understatement. If you have ever seen the film, you will know what I mean.
I knew even then that I wasn’t watching run-of-the-mill acting. It was serious method acting of the highest standard.
It was at that moment I decided to dedicate my life to the pursuit of acting excellence.
I know it might sound a bit trite, but it’s true, and I wouldn’t be surprised if you have had an epiphany moment like this too, many aspiring actors do.
Soon after watching Jack, I decided to study the approach he did when he started out, which was Lee Strasberg’s Method. It’s fair to say that I immersed myself in this approach for decades and have taught hundreds of actors this technique since I started teaching back in 2006. Then in 2012…
I saw a production so arresting
that it transformed my understanding of acting
I went to see the Moscow based Vakhtangov Theatre Company perform Uncle Vanya and it was the best thing I have ever seen performed on a stage. They were using a heightened form of method acting called Fantastic Realism which was invented by Eugene Vakhtangov back in the 1920s. It was like method acting but on steroids.
If you are looking for a modern-day reference then take a look at Joaquin Phoenix in Joker, or Daniel Day-Lewis in Gangs of New York or Meryl Streep in the Devil Wears Prada or Al Pacino in Scarface, and you will get the idea.
I started to research and study the work of the Vakhtangov, and as it turns out, he was a significant influence on the creator of modern method acting Lee Strasberg. Vakhtagov was like the precursor to Lee. This also led me to the work of Nikolai Demidov (a colleague of Vakhantgov) whose work was entirely suppressed by the Russian government until recently.
The upshot was that I spent a lot of time in Russia studying all this which I then brought back to the UK and taught to my students…
The results of which have been outstanding
I found that I could get students to quickly access their unconscious mind and completely enter into the mind of the character.
It also meant that I was no longer purely teaching Lee Strasberg’s approach but a combination of Strasberg, Vakhtangov, Demidov and my own inventions. That’s why I have named it Timoney Method. It’s a one of a kind method approach only taught at my studio.
The first step in the approach is being able to deliver unconscious acting. I can’t tell you how important this is. It’s the foundation upon which all high-quality acting rests, and unfortunately many don’t actors don’t understand how to do this at will and consistently.
The heightened work I referred to earlier delivered by Joaquin Phoenix, Daniel Day-Lewis, Meryl Streep, Al Pacino and the Vakhtangov Theatre Company is simply impossible without first being able to act at a subtle, confessionally sincere, unconscious level first.
Most actors don’t know how to do this. If they do manage to achieve it, it’s usually a fluke, and they don’t know how to recreate it.
Many actors think and perform at a conscious level. They think about what the character needs, how they will perform scenes and learn lines in the way they expect to play them.
This is a big mistake and leads to cringe-worthy indicational acting.
The lowest form of acting
That’s why the main focuses of this five-day intensive is teaching you how to unconsciously enter the mind of the character and ONLY experience their thoughts and express yourself authentically as them.
It’s a loft aim but one that I am firmly committed to and believe we can achieve in the five days.
Here are other aspects of Timoney method that we will be covering:
Confessionally Sincere Acting – through the use of what we call – Etudes – you will develop an ability to completely immerse yourself into the character and live authentically in their given circumstances. The acting will be so real it will have the quality of someone who holds nothing back and reveals their inner soul to the audience.
The Free Flowing Of Mind, Body And Emotions – through the use of what we call – plastiques – you will develop the ability to let your mind, body and emotions flow like a fast-flowing river, cascading downhill. One of the things that can hold an actor back, more than anything, is the unconscious restriction of their mind, body or emotions. Often when someone becomes tense, they start to seize up and hold back. This can often lead to wooden and dead acting. You will be taught how to enter into a flow state and allow your whole being express itself freely.
Developing The Eyes Of The Character – often actors will try and play characters rather than become them. They don’t even realise that they are doing this as it’s unconscious. By using our Character Box exercise, you will learn how to completely and utterly immerse yourself in character, to the point where you see everything through their eyes.
Unrestricted Expression – a great actor can go with their impulses and express themselves without fear. You will learn how to identify real impulses, large and small, happening in your body as a sensation and then follow through on them. This will allow you to be completely unrestricted in your ability to express yourself.
Emotion On Demand – a character can only exist through you, so it makes sense that there will be times when you need to use your life experience, to create an emotional charge for a scene or character. We do this by the use of sense and emotional memory, collectively referred to as Affective Memory. You will learn how to relive life experiences, through the senses, to create emotion on demand.
Forgetting Yourself And Living Unconscious On Stage Or Set – the ultimate goal that every actor worth their salt strives for, is being able to forget themselves and to live unconsciously in their work. The combination of tools and techniques used within my approach allows you to connect and work with the unconscious and let it take over. It’s taken me decades to identify how to make this happen at will. The result is a complete immersion in the role and their circumstances.
Human Alchemy – This a concept I have worked on for decades. It allows you to mix two opposing qualities to create a third. For example, you mix the intellectual with the sensual, the real with the unreal, rational and irrational, pleasure and pain, good and evil, life and death. When you do this, a third quality emerges that is not either of the original attributes. This is chaotic and disturbing to the human psyche, and an audience watching this occur, has a deep and profound experience as a result. It’s not as simple as pretending to be two qualities, that would look amateur, you must go through an unconscious process to arrive at the alchemy authentically which I will teach you.
Enhanced Perception – the ability to understand and identify our perceptions is key to creating ‘in the moment’ spontaneous, organic acting. Otherwise, acting merely becomes an exercise in repetition of scenes and characters trying to imitate what you have done before. With our enhanced perception techniques, you will increase your real and imaginative perceptions, allowing you to create real thought in your performances that change every time.
Soul Print – everyone has their own unique personal atmosphere. This is like a fingerprint for the soul. Using our approaches, you will be able to create your unique soul print for your characters and generate their particular atmosphere within your performance.
Destroy Everything – the brilliant actress of the early 1900s, Eleanora Duse, who influenced the great Method Masters, always advised to destroy everything. What she meant by this was that once a character, scene or entire play has been created once, you must forget it, destroy everything that has gone before and re-experience it for the first time again. You will learn how to do this at will, to ensure, spontaneous, organic, alive acting.
The results I have been achieving from this way of working have been nothing short of amazing.
But Before you get too excited
let me tell you who is NOT invited
This course is designed for serious beginners. It’s for those who are at the start of their acting journey and who have little or no acting experience but are into the subject of acting in a big way.
That means it is NOT for:
- Flakes, wannabes and fame hunters
- Those who no nothing about acting whatsoever. (If you are a serious beginner you will have looked into acting, perhaps read a book or two on the subject or perhaps attended a class here or there, been to the theatre and have some sort of basic idea about acting.)
- Those who like famous indicational actors (list available on request) who are as fake as a politicians promises
- Those who can’t name at least two method actors of note. (I’ve mentioned more than that on this page so if you can’t name two this course is not for you.)
- Lazy people
- Complainers and moaners
- Passive-aggressive types
- Those who think they know it all
If any of the above resonates with you, then this is not for you. If, on the other hand, you don’t identify with any of the above and you are a ‘serious beginner’ then I would invite you to apply.
This course is limited to 12 people ONLY.
I will be very selective about who I take.
Here is the process:
Step One – Apply and pay your £100 application fee (refundable if you are not accepted onto the course, and if you are accepted, it goes towards your full fee.)
Step Two – I review your application and either decline the application or invite you to a Skype interview.
Step Three – I make a decision and notify you.
Please note, if you decline our offer after applying and being accepted, you will not be able to apply for any of our courses in the future, so please be certain. I know this may sound harsh but it’s necessary to ensure only those who are deadly serious apply.
Here are the details:
Dates: 21 – 25 May, 2020
Time: 10am – 5pm
Location: The Courtyard Theatre, 40 Pitfield Street, London, N1 6 EU.
Full Fee: £1,100 (There is a £100 application fee, refundable if unsuccessful, or if successful in your application it goes towards your full fee.)