About
OTOA is a technique and not a style of acting, meaning that it gives the performer a set of life-long skills which can be applied for any role, any style of performance, and for any medium (stage, film or tv).
Although, I feel strongly that OTOA is a foundation building technique that addresses physical presence, variety, character development, vocal strength, and artistic confidence, it can be used in conjunction with any other acting training.
OTOA is not for everyone. OTOA requires discipline and practice, and although discipline and practice are important skills for all professional performing artists it does not mean that I am a super strict teacher.
In all OTOA teaching environments, there is no right and no wrong. There is only learning. Everything you bring to the training is an opportunity for learning, and as long as we're commited to learning and growing there are no mistakes.
What OTOA students get from the training is proportional to what they are willing to put into it. I can only encourage students to set the bar high and give them the tools and environment to reach for for that bar.
I enjoy guiding artists to find their individual and unique strengths by helping them to articulate achievable goals, learn reliable skills, and enhance their confidence and sense of purpose.
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Frequently asked questions
What is your typical process for working with a new student?
I charge $75. per hour for private sessions out of my private studio in Brooklyn. My location allows me to keep my prices affordable for artists.
However, I recommend 2 hours for the first session (at a discounted price of $125).
Two hours allows us to get to know one another, allows me to introduce some preliminary acting exercises, and allows us both to outline achievable goals.
After our first session, where we will have an opportunity to review your objectives, artistic strengths and performing experience, a session schedule can be customized to individual needs, budget and availability.
What education and/or training do you have that relates to your work?
I have a BFA in Acting from New York University Tisch School of the Arts, Graduate Acting Department, and a MFA in Directing from Yale University, Yale Schol of Drama
How did you get started teaching?
Teaching grew organically from my work as a stage director, where the actors I ws directing, and those coming to see my productions, were interested in going deeper into the One-THought-One-Action (OTOA)™ technique that I had developed for enriching my projects for the stage.
What types of students have you worked with?
As a teacher and coach of the One-Thought-One-Action(OTOA) performance technique I have worked with beginners, mid-career and seasoned mature professionals in the performing arts. I have worked with actors, singers, public speakers, directors, choreographers, dancers who are transitioning into acting, playwirghts, film makers, playwrights, screen writers, and musicians.
As a teacher and creative life coach in One-Thought-One-Action(OTOA) Creative Life Practice (CLP)™ I have work with non-performers, such as: visual artists, film producers, therapists, poets, playwrights, lawyers, office managers, baristas, computer programers and more.
Describe a recent event you are fond of.
I recently accompanied one of my long time students (now a professional actor) to her first visit to the Guggenheim Museum in NYC. It is important to nourish the artist and to be exposed to all areas of the arts.
What advice would you give a student looking to hire a teacher in your area of expertise?
See my response below...
What questions should students think through before talking to teachers about their needs?
Students seeking a teacher for acting training usually fall into 3 categories: either they are looking for guidance and assistance in preparing for an audition, or they are looking to strengthen their skills for auditioning in a more general way, or they are seeking to build their technique for a life-long career in the performing arts, film and/or television. It is my suggstion that students figure out what they are looking for in these three categories and then determine the sub-catgories that may also apply (such as vocal training for singers, experience infront of a camera, or dialicet coaching).