La Voz Hispana de Nueva York, 8 de junio de 2016; por Antonio Bones – La prestigiosa escuela de actuación abre sus puertas al primer taller dictado completamente en español de la mano de los reconocidos actores Maria Fontanals y Pablo Andrade, que tendrá lugar en la ciudad de Nueva York este verano…read more
Starring Austin Pendleton has been accepted in the 2016 Tribeca Film Festival! The documentary film by HB Alumnus, David Holmes, features our very own faculty member Austin Pendleton. Footage was shot in Austin‘s classes at HB Studio over a period of a few years.
Starring Austin Pendleton, directed by Gene Gallerano and David H. Holmes. (USA) – World Premiere. The most famous actor you’ve never heard of; Austin Pendleton reflects on his life and craft while his A-list peers discuss his vast influence and what it means to be an original in a celebrity-obsessed world. Includes interviews with Philip Seymour Hoffman, Meryl Streep, Natalie Portman, Olympia Dukakis, and Maggie Gyllenhaal.
Also part of the Tribeca Film Festival short films lineup is the short film The Mulberry Bush, directed and written by Neil Labute which features our very own HB Alumnus Victor Slezak.
The Mulberry Bush, directed and written by Neil LaBute. (USA) – World Premiere. Two men sit next to each other on an autumn day in Central Park. They make small talk about the weather and the joys of summer. When the conversation turns personal, however, it becomes clear that this is no random encounter, and they are headed toward a startling confrontation.
HB Studio One of New York’s original acting schools, HB Studio can imbue you with that New York authenticity. What sets this nonprofit organization apart is its atmosphere: HB Studio is not a college or conservatory, but a workplace for the teaching and practice of art. Students are expected to take charge of their own development and come forth with respect for the craft, highlighting areas where some deepening is necessary in their personal practice. HB training has roots in the European classical tradition and focuses on practicality. Stockard Channing, Bette Midler, and Sarah Jessica Parker are among its alumni.
Great actors make themselves out of the stuff they are born with and all that they experience as their lives unfold. They challenge themselves to make the most of those assets and transcend those limitations — to make sense of all they have been given.
It is not enough to have talent, but talent is important. Talent can mean many things. Each extraordinary artist possesses a unique combination of gifts and must work to bring them to fruition and to compensate for the ones he or she lacks. Authenticity, sensitivity, imagination, empathy; a good ear, clever tongue; a resonant voice; physical coordination, flexibility, strength; courage, vulnerability — all these are key. Perhaps you are born with them; perhaps you must cultivate them. Probably it will be some combination of the two.
As Herbert Berghof was fond of saying, “Never mind your talent; do you have the determination?” You must be truthful with yourself and not rest at what comes easily. Each effort to communicate something meaningful and human presents new obstacles and demands. Each performance depends on a unique fusion of the intentions, efforts, and talents of the artists involved. You work as hard as you can to build a lightning rod, then hope and allow that lightning may strike.
If you are expecting to be great, you will likely miss the mark. If you are diligent, honest, and passionate about your work, you will do well. The reward: Sometimes, sometimes — through the temerity of your efforts and some accident of grace — something extraordinary will be revealed.
In December of 1961, I was able to get—through the kind offices of my friend Nancy Donahue, who introduced me to her agent Deborah Coleman—an audition for Arthur Kopit’s play “Oh Dad, Poor Dad…” (the title is actually longer than that), to be directed by Jerome Robbins. Jerry liked my audition, but he’d never heard of me, so he kept calling me back, and at every callback I got worse. Finally, on my sixth audition, I arrived and was asked to read opposite a young woman named Barbara Harris. It will always be one of the magical moments of my life. She began to speak, and the role I was auditioning for roared to life in me again. We both were cast that day.
And then I began, in rehearsal, to learn her process. I’m not sure I’ve ever experienced a process like it. I’ll just say I learned what it was like to be in the presence of genuine immediacy on the stage. Immediacy, by the way, combined with patience and kindness, not to mention an inexhaustible inventiveness. It was acting as the highest class of jazz. Much of what I know about acting, or what to strive for in acting, I learned in that year with Barbara, who of course went on to do much breathtaking work. I also learned much of what I know about collegiality.