No one learns to act, they merely to remember. If we can tap into our playfulness we can remember how to play with the same investment we did as children. My approach is about how alive you can feel, how hard you can pretend, how much fun you can have. Working with me you’ll discover in acting a capacity for joy you didn't think you had in you.
I take a lot of satisfaction in introducing people to their capacity for the ecstatic. I love giving people permission to feel stupid, which I feel in 80% of the job of being an actor. I love helping actors to learn to identify and solve the fascinating storytelling challenges a script can present through imaginative games. But mostly I love introducing actors to their silly, openhearted, uninhibited side.
Ralf is super attentive to his students and is really good at explaining any idea to any kind of person! He really knows his stuff, and he's really funny. He always made me want to learn more and push myself. Definitely super good teacher.
I have worked with Ralf as a fellow teacher, and as a actor under his direction. Ralf brings years of training and experience to his teaching, meeting the student at her level of comfort, while challenging her to push beyond it. He is creative, energetic and committed to his students and all that he does.
Ralf is holistically invested in art and creation. He brings that to the table every time. Whether he is teaching or doing, I think the biggest takeaway is how invested he is to making the art be a vulnerable reflection of the world and/or himself. Lastly, he knows the language when it comes to the sensitivity of someone learning the craft and trying to be free within their art.
He gives his entire focus, knowledge and creative ability to you and treats the work with extreme care and investment. His passion is an immeasurable value for anyone's artistic growth.
I talk to the student about the kind of work they are interested in, what kind of work inspires them, what makes them laugh, so we can find as common a language as we can.
Then we ease into games games that get them okay with feeling silly, which is essential to acting. Next we begin to break down whatever piece we are working on into what's fun, what's funny, or unusual about that piece, and use that as a doorway to explore the piece in depth.
I started acting when I took an improv class in high school. I received a BFA in Performing Arts from Savannah College of Art & Design, apprenticed with renowned clown performer, Eric Davis, and studied with Yale Physical Acting & Clowning teacher, Christopher Bayes. I completed programs at The People's Improv Theater, and Dance New Amsterdam.
I charge $40 for my services, for up to 4 students at a time. Add 10$ for each additional student. Anyone's first hour of working with me is free.
I started teaching in 2006 when I came on as assistant director for Savannah's AWOL Inc. youth theater program. In this program which focused on arts education and mentorship for at-risk youth, I helped create material and direct the students in their devised theater revue.
I’ve taught as an drama teacher in NYC public school afterschool programs, for Educational Alliance, The Leadership Program, Puppetry In Practice, CUNY Creative Arts team. These were inner-city students from New York, NY, including many to whom english was a second language. Some of my students have been at-risk youth from tough background. I've also taught improv to college students at Brooklyn College. Privately I've worked with improvisors and cynical NY stand-up comedians.
I recently did a successful run of my one-man show ”What Should Be the Fear” in Savannah, GA. The show chronicles true story of my year long tour of the United States on my bicycle, performing solo Shakespeare on the streets. My collaborator and I have been laboring over this project for seven years. People responded really strongly to it, and we are very proud of it.
New York is a deceptively tough place to find an acting teacher because teacher-student relationships tend to become a bit co-dependent over time. I think there is a new approach that is less self-serious, that takes into account the new ways that actors work, the change in our tastes, our senses of humor, and our relationship to media. I’d advise you to work with a teacher who is firm, but builds you up, not tears you down. No one teacher is going to make or break you. It’s up to you to decide how far you are willing to go.
What are your goals? What is your timeline? How willing are you to fail? What makes you laugh really hard?
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