"I've made 95% of my improvement as an actor in the past year."
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ABOUT THE WORKSHOP
ABOUT THE WORKSHOP
Winter 2026 Stanislavski Workshop
Saturdays, 10:00 a.m. – 2:00 p.m.
February 28 – May 9, 2026
(No workshop April 4)
The Broadwater Theatre · Hollywood
Winter 2026 Stanislavski Workshop
Saturdays, 10:00 a.m. – 2:00 p.m.
February 28 – May 9, 2026
(No workshop April 4)
The Broadwater Theatre · Hollywood
Description
In this professional, advanced workshop, actors work on monologues and scenes using the teachings of Konstantin Stanislavski.
Under the guidance of Jack Stehlin (New American Theatre Artistic Director, actor, and director), actors develop the confidence and technique required to work on major stages, as well as in television, film, and new media.
The goal is to help actors feel free and authentic as they serve the story based on the text.
Actors invited into the workshop have the opportunity to become members of The New American Theatre.
In this professional, advanced workshop, actors work on monologues and scenes using the teachings of Konstantin Stanislavski.
Under the guidance of Jack Stehlin (New American Theatre Artistic Director, actor, and director), actors develop the confidence and technique required to work on major stages, as well as in television, film, and new media.
The goal is to help actors feel free and authentic as they serve the story based on the text.
Actors invited into the workshop have the opportunity to become members of The New American Theatre.
What to expect:
- Participation in a community of vibrant, working, professional actors in theatre, TV, and film.
- The benefit of a shared dialogue between motivated and experienced actors who strive for fulfilling and long-lasting acting careers.
- An in-depth exploration of Stanislavski, using scenes.
- Please note, this class requires significant outside work: students are required to rehearse outside of the workshop. Workshop members can rehearse in-person or on an app such as Facetime, Zoom, etc.
What to prepare:
- Actors will be assigned a two-person scene prior to the first workshop. For inspiration, you can find great ideas from this list of Pulitzer Prize winning plays.
- Textbooks for reference:
- The Stanislavski System by Sonia Moore (required reading)
- An Actor's Work by Konstantin Stanislavski (Constantin Stanislavsky) translated by Jean Benedetti (recommended reading). This book is extremely useful for reference
How to Join:Participation is by audition and invitation.
Please email your headshot and resume to:
[email protected]
If invited to audition, you will be asked to submit a short self-taped monologue (under two minutes).
Choose strong writing and cast yourself thoughtfully - you do not need a new monologue.
Please email your headshot and resume to:
[email protected]
If invited to audition, you will be asked to submit a short self-taped monologue (under two minutes).
Choose strong writing and cast yourself thoughtfully - you do not need a new monologue.
Workshop Fee:
$695 for 10 weeks
Flexible payment plan:
• $235 non-refundable deposit at sign-up
• $230 before Week 1
• $230 at Week 4
There are no additional fees beyond the workshop fee.
$695 for 10 weeks
Flexible payment plan:
• $235 non-refundable deposit at sign-up
• $230 before Week 1
• $230 at Week 4
There are no additional fees beyond the workshop fee.
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About Jack Stehlin
Jack Stehlin has directed over 80 plays for The New American Theatre. Fresh out of The Juilliard School, he founded the company (as Circus Theatricals) in 1983. Also an actor, his Los Angeles stage roles include New American Theatre productions of Tempest Redux (co-production with Odyssey Theatre), 63 Trillion, More Lies About Jerzy, Julius Caesar, Harm’s Way (LA/Off Broadway), Titus Redux (Not Man Apart co-production at Kirk Douglas Theatre and RadarLA,) and Odyssey/New American Theatre co-productions of Creditors (LA Weekly Award nomination-Best Actor),Taming of the Shrew, The Misanthrope, Macbeth, Richard III, Tartuffe, and True West. On television, he is perhaps best known on television as DEA captain Roy Till on the Showtime series Weeds (SAG award nomination). New York/Regional stage credits include Salome (with Al Pacino), numerous productions at New York’s Public Theatre including Richard II (with Steven Berkoff), Henry V (with Kevin Kline), Casanova (with Ethan Hawke), Henry IV, (with Mandy Patinkin), and Julius Caesar (with Al Pacino and Martin Sheen). His many guest-starring roles on countless TV fan favorites include the recent Assassination of Gianni Versace, NCIS Los Angeles, Without a Trace, Monk, The Practice, Crossing Jordan, ER, NYPD Blue, and Fox’s Hieroglyph. Jack can currently be seen on the big screen in Wilde Salome with Al Pacino. For more about Jack, click here |
STANISLAVSKI WORKSHOP VIDEOS
Meditation and being in the momentThe Stanislavski System is designed to bring actors to the moment, merging the elements of the story with those of the actor themselves. We have found the practice of meditation is not only useful in daily life but also contributes to an actor’s effort to recognize and be present in the moment.
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Acting and EgoStanislavski's approach focuses on the character’s objectives and actions, and serving the story, which will connect with the audience.
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Elements and ToolsThe elements and tools can be applied in any acting situation — Shakespeare, film, streaming series, stage, musical theatre, improv, auditions, and even self-tapes.
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The "Magic If"The "Magic If" helps actors connect deeply to their characters by imagining themselves in the character's situation. It bridges the gap between reality and fiction, sparking authentic, emotional performances.
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"The Most Important Tool is You"The most important tool in the Stanislavski system
of acting is YOU. |
Action, characters, and Value SystemsWho is your character? What do they value most? You can find the answers in the script!
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Acting isn’t real life—it’s art.And for art to exist in you, move through you, or use you, you have to create belief.You make-believe in the smallest ways. When you enter a scene, ask yourself: Where did I just walk from? Is there a hallway there? When do I actually see the room? These details build belief, creating the energy that drives the work.You have the physical action—and you have the internal action. And of course, it’s all make-believe.
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Authenticity"To bring authenticity to your acting, you must first nurture your love for life itself." - Stanislavski
Being deeply curious about people, places, emotions, and experiences is the key to unlocking raw, genuine performances. Stanislavski believed that when you truly engage with life—observe it, feel it, and live it—you create a powerful connection to the emotions needed for authentic performances. |
Acting is LifeStanislavski reminds us that acting is life. We're conscious in every interaction because of all our circumstances—every experience, memory, and reference. In the moment, we're seeking what we want or reacting to what's in the way, just like in life. As actors, everything that makes you you—conscious or unconscious—is useful. Build the tools you need, and let the fullness of life flow into the world of make-believe.
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