The Approach to Acting

The approach is based upon moment to moment spontaneous work, that is inspired by imagination, passion and purpose, driven by a sense of reality, intelligence and logic, grounded in the patience to listen, the willingness to be affected and the courage to ask the next question. Drawing from Stella Adler who said “I don’t teach actors to be actors, I teach people to be people”, I embody a similar philosophy. I try to get the actor to be as personal (drawing from the circumference of their own life experience.) as possible even though they may sometimes be playing characters far removed from themselves, so that what they create will be original and unique because it is coming from them and it is what they know best. As the Latin verb to educate, educere, means to “lead out”, it is my intention to lead the artist out so they can have, as Martha Graham says, “the gift of themselves.”

Scene work is the basic platform of study.  Environmental exercises, picture exercises, song and dance exercises, improvisation and other exercise models will be used on an individual basis to supplement and support what is discovered through scene study.  It's important to build strength where strength exists, so identifying one's casting is important. 

The concept to acting at the Richard Lawson Studios will be loosely based upon the fundamental principles as conceived and developed by Milton Katselas over the last 40 years.

Emphasis will be placed in three main areas. Acting: The development of one's craft by acquiring a set of tools through a variety of exercises and scene work that gives an artist confidence and certainty. Administration: Root word is minister or servant. Minister: To have charge of; manage. Servant: To be of assistance to or promote the interests of. Attitude: A state of mind or a feeling; disposition; a frame of mind affecting one’s thoughts or behavior.

Camera technique will be taught to help the actor bridge the relationship between the stage and film.  The actor will learn how to modulate the imagination, boldness, risk-taking and willingness to fail that one learns on the stage so that they can be just as effective and no less evaluated on the smaller stage of film.  

Click here for testimonials of Richard's teachings at the Beverly Hills Playhouse.