Studio 1010
About
Hi! Welcome to the core of acting, the fine art of creating illusion with the essential you.
[Please Note: My classes, group or private, are for ages 19 and up.]
To begin, many acting teachers or coaches will want to give you technical pointers and some sort of "template" of what they may say acting is. To be clear, this is not my focus in teaching-- or mainly guiding as it might be called. Yes, I can very well give methods and "tricks of the trade", coming from my 20 year professional acting experience in film, theater (also directing) and some television. But I've retained certain basic principals from my experience with teacher Harry Mastrogeorge (teacher for Robert Redford, Ray Liotta and Claire Danes, etc.) in Los Angeles and various fellow professionals I've worked with through the years that are, at heart, so simple that's it's undeniable. At it's core, acting is always a process of becoming, beginning with essentially "being" who you are. Yes, certain expressive qualities need to be enhanced through exercise and a pure dedication to the art (the "technical" side). But this condition is always inherent to acting: there are basically two "realities" going on simultaneously, the technical and the illusion itself (or whatever you'd like to call the latter, which is the actor's primary task). These "realities" are always explored and integrated into each one of my classes-- regardless of for what conditional environment, theater, film or television. By the way, there are two other things going on simultaneously as well: sincerity and having fun (much like real life, right?). So, what you'll need to bring to class at Studio 1010 is your desire to express the most profound of who you are and who you want to be. And I do require a sincerity with your work, just as your sense of humor, too. Most of the rest is my task, not the least of which is making a safe and aesthetic environment for open expression.
In working the way I do, and please don't be offended, I don't care what your prior experience or lack thereof is. I do care about you, how you value yourself and your hopes and dreams. [And by the way, somewhat like a life coach, I'm a working professional Life Guide as well; and that's a different agreement.].
If you're up to the real art of acting and that ultimate in being, let's talk about those desires and dreams soon.
All the Best!
John Pabros-Clark
Sharing knowledge, creation, wonder, and passion for art and life. And teaching acting as a service, one that often goes beyond myself-- making it a wonderful mystery, too.
No reviews (yet)
Frequently asked questions
What is your typical process for working with a new student?
Beginning with simple text from published plays or film scripts, in monologue fashion, together we'll explore and enhance qualities of sincere expression (often with the student's own sense of humor as well) via customized exercises and possible additional homework. When the class as a whole has optimized their own expressions in being, we'll move onto scene work and relationships study using some both ancient and modern techniques and modalities that enhance feeling and engagement with each student, each other and maybe the world. Then, further, we'll delve into the well of emotional content activation and awareness directionals, usually through improvisations and introvert-extrovert exercises as well.
With newer students in particular, a safe and comfortable environment to begin and grow in as desired is a primary for John.
What education and/or training do you have that relates to your work?
Beginning with two years of rigorous study towards a BFA degree at the University of Georgia and going as far as this system allowed him to, John set off for life and greater adventure in acting and real living. He auditioned for pretty much any opportunity that came his way, procuring professional roles and leads in a myriad of acting environments: classrooms, film & television sets, outdoor drama arenas, high-tech professional theaters, arena theaters with 500 person-seating, and numerous commercial and industrial sets along the way across the country. His intense and somewhat brief study with Harry Mastrogeorge in Los Angeles woke him up to a deeper aesthetic in acting, profoundly and sustainably, until an illness in the family called him temporarily back home. After completing an internship at the Alliance Theater in Atlanta, John headed back to LA, continuing acting on stage and sets; also being hired as a professional director on Theater Row in LA. In his passion for art, he also trained to teach Drawing & Watercolor at Mission Renaissance in Pasadena.
John no longer performs as an actor (at least so far), having found a clearer calling to teach and guide.
So, clearly, to John, life doesn't imitate art so much as life IS art-- creative, intelligent and vibrant in what's highly possible. He greatly looks forward to sharing experience with you, at Studio 1010.
Do you have a standard pricing system for your lessons? If so, please share the details here.
John's Acting Class Finance Guide:
$60 per student per each 2-hour weekly group class (classes are currently limited to 4 students each, to optimize everyone's time); or receive 4 classes at $220/month (paid in advance).
$100/session for private learning, class frequency and times to be agreed on.
Note: All fees are paid by cash, Venmo or PayPal only, thank you.
All classes are currently scheduled on weekdays starting at 6:30PM or weekends starting at 2PM, the specific days for each group class to be determined by availabilities.
How did you get started teaching?
John began teaching the art of acting to children and teens, starting with professional show-related workshops and classes at schools and then as a required extension to his internship at the Alliance Theater in Atlanta. John then began teaching adults in private at the nearby Academy Theater, integrating certain university and personal studies in Psychology (particularly Carl Jung) and his own "brand" of style in aesthetics and technique (which he has later called Liminal Kinetics). His passion for teaching acting continues, with each opportunity, with care and impeccability.
What types of students have you worked with?
Predominantly, John has worked with students with a professional desire; but of many levels of training and experience. He has taught pure beginners, yet that desire has always been required. If you're merely curious, this is probably not the class situation for you. If you want to ONLY have fun, this is probably not the class situation for you.
Describe a recent event you are fond of.
In a recent Life Guide session with a client, it became clear that they had no idea how to "let loose" and have fun. So, drawing on a classic acting exercise, we played out "favorite animals" until we crashed in a heap, snarling and laughing. Some may know this as what's called a shamanic device; yet we were just having fun, loosening the imagination and expression.
Again, and I'm grinning as I write this, life is art.
What advice would you give a student looking to hire a teacher in your area of expertise?
Look for, number one, someone who cares more about you than their own curriculum. It all starts with you, who you are and dream about being. Don't be under-valued, regardless of your amount of experience or knowledge. And don't look for someone who won't occasionally challenge you or push you a little bit. I know that no actor comes to me a "broken" human being, but a wondrous wealth of feeling and experience. That, to me, is both precious and as a muscle that needs attention and exercise. Regardless of what class you opt to take with whatever teacher, you will always be your primary resource to act from.
What questions should students think through before talking to teachers about their needs?
Your primary question for yourself should be, "How much do I really want this?" This serves as a clear guide about forming the rest of your questions, both for yourself and what classes you may choose.
Second, "What amount of time will I really give to this?" This helps to create a kind of framing for goal setting, scheduling and maybe which classes you'll dedicate to.
Third, "What might benefit my everyday life by doing this?" This can make like a playing field for, not just choosing classes to start in, but where you might go from there in living your life. [Real life is a rich and substantial resource for acting; and if studying or pursuing acting can enhance your life, all so much the better!]
Fourth, "Which instructor seems to care about my needs the most?". The benefits of that question are self-evident.
The rest-- up to you, sincerely.