Peter Sardi's School of Acting
Talks & Demonstrations
After four decades of acting, directing and teaching, Peter has documented some of his teachings on film. The development of specific acting exercises are the culmination of many years of hard work. They stand as a testament to his dedication and passion for the craft.
DEMONSTRATION IS BETTER THAN EXPLANATION.
The availability of Peter Sardi's acting exercises here is an incredibly valuable resource! While explanations can provide insight and understanding, nothing compares to the impact of a hands-on demonstration. When someone is able to see, hear and experience something firsthand, it tends resonate with them more than if they were simply told about it. This is particularly relevant when it comes to Acting & The Performing Arts. Fortunately many of Peter Sardi's acting exercises were documented and filmed over many years and are now available here. These demonstrations provide valuable insights into acting and Peter’s specific approach in the craft of acting. They feature acting exercises that ultimately FREE THE ACTOR. Two signature exercises form the foundation of his teachings. The first signature exercise we've named THE LISTEN & RESPOND exercise. The second we've named THE BULLRING exercise (also called "The Playing For Contact" exercise.) If you've been a student at our school, you'll be very familiar with these exercises and they will serve as a good reminder of your time here and the important lessons learned. If you have never been a student of our school and are viewing these demonstrations for the first time, I hope that they give you a sense, an insight into what it is we teach, and how these exercises contribute to learning this craft we call — ACTING! ~Peter Sardi
The Listen & Respond Exercises
In our First Demonstration the scripted dialogue is in yellow. This exercise demonstrates that FREEDOM in acting happens when we are present with each word. If we listen deeply both to the words and to our acting partner, our impulses are ignited and we come alive and importantly. . . The SCENE comes ALIVE!
DO SOMETHING. . . so that I can act.
In this demonstration just one actor speaks the lines while the other actor listens. The Rules of this exercise? Simply: The actor speaking the lines cannot speak them until his partner does something. This is extremely important, as it encourages the actor to take his attention off of the page and put his attention where it needs to be. . . on his acting partner!
The Script.
What, what? Don't do that. Don't do that. Do you hear me? Look at me look at me. What? What? I'm not doing this anymore.
In our Second Demonstration the same principles apply however, in this exercise both actors are now speaking making it more difficult. Why? Because now the actors need to listen not only to the lines they are each speaking but also to the BEHAVIOUR of each actor.
Listen to the lines through THE BEHAVIOUR of your fellow actor as he/she speaks the lines.
The Script–>
SHE: That’s what I heard.
HE: That’s what you heard.
SHE: That’s what I heard.
HE: You believe everything you hear?
SHE: No but—
HE: But you believe this?
SHE: I didn’t say I believe it, it’s just that—
HE: Yeah you believe it.
SHE: I don’t believe it.
HE: You don’t believe it?
SHE: Not exactly no.
HE: Not exactly not exactly, you either do or you don’t, I mean you either do or you don’t.
SHE: I don’t, not exactly.
HE: You know you’re a liar. Yeah a liar.
SHE: You calling me a liar?
HE: No I’m not calling you a liar, you are a liar.
SHE: Well that just proves what I heard.
HE: What, what the fuck did you hear?
SHE: I heard.
EMOTION. . .
In our Third demonstration of the Listen & Respond Exercise the exercise remains the same however we now focus on the element of EMOTION. This is is a BIG topic when it comes to Acting. The point I'm attempting to make here is that EMOTION must not get in the way of the 'actor to actor connection.' First and foremost is the DOING. It's out of the doing that emotion arises. DOING COMES FIRST... EMOTION COMES SECOND!
"To be present and alive on stage is to be in contact and this contact results in harmony between you and your partner. You are both together in the same moment - seeing, listening and responding."
~ Jerzy Grotowski
Don't be self-conscious... be partner-conscious.
Connecting and engaging with your scene partner in a physical and visceral way assists actors to stay present and work 'moment to moment.' It protects you from 'working alone,' something you see a lot of, where the actor gets self absorbed and often self-conscious. As you will see in this demonstration, it's all about putting your attention over there... on the person opposite you, being your acting partner.
The Bullring Exercises
Sophie Demonstrates The Bullring Exercise.
This exercise, affectionately known as The Bullring Exercise was born, refined and perfected over a 25 year period at our school. It is a fundamental part of our teaching, designed to help students connect to each other in a deep way beyond the written word.
THE BULLRING with Gibberish.
The Bullring exercise here is now combined with Gibberish. What to focus on when watching this clip is to observe how the actors are connected in a very physical and visceral way through MOVEMENT & SOUND. If you look closely you will see that an actual back & forth communication is happening. There are no scenarios or relationships. All there is are actors giving and receiving ENERGY through MOVEMENT and SOUND.
Don't Compete — Be A Partner To Your Acting Partner.
Don't compete with your acting partner he/she is your 'partner' so you must work together. It's all about receiving, letting your partner in so as you can respond /react and return the energy to your partner. Acting is a 'give & take.'
YOUR FUEL FOR ACTING IS YOUR ACTING PARTNER.
Actors Nick Stribakos & Guy Greenstone demonstrate this concept clearly.
Transcending the Thinking Mind and working from IMPULSE.
This exercise reveals a spontaneity where the actors transcend the thinking mind and work purely from Impulse! As in the above clip you can see the ENERGY being generated between both actors who are working together and not competing. You must retain this quality when doing an actual scene. You must never allow or your idea of 'the scene', to get in the way of the 'moment-to-moment' connection between the actors/characters.
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TESTIMONIALS
