Photo by Paul Bulai on Unsplash It seems that we can compare our individual lives to a flame, as Shakespeare said: a brief candle. The thing that makes us different and unique from a flame, is that the flame is guided, and its existence is determined by what we call the laws of physics in a strict sense. It can grow with fuel or be doused with water and must follow these rules without choice. We on the other hand, have a sliver of agency. So like a flame with a bit of agenc

Spring in Seattle is BLOOMING! Finally! Light returning, days stretching, and suddenly everything sharpens into color and motion. That’s what it feels like in The Studio right now. Rooms humming. Breath, text, risk. The quiet electricity of people choosing to show up again and again. Our actors are stepping into auditions, into bookings, into themselves—week after week—not chasing something distant, but deepening into the craft they love. We’ll be sharing more student shoutou

This summer, we are adding a new class to our curriculum. The true foundation of any actor's work is their physical instrument: body, voice, mind, creative imagination. We have learned over the past year that the more we teach new actors how to tap into their physical potential, the further they can go in the acting sequence of classes we offer. An actor who is attuned to what their body can do is an actor with more creative potential. Iveliz Martel is a theatre artist and te

The last year of the Fire Horse was 1966. That year, both Blonde on Blonde by Bob Dylan and Pet Sounds by the Beach Boys were released. Both would become landmark albums and in some ways signaled that something profound was happening at the time in American pop culture. Pet Sounds laid the groundwork for albums like Sgt. Pepper’s Lonely Hearts Club Band , and is cited by Paul McCartney as the most influential pop album of the modern era. Blonde on Blonde was equally influent

Is the digitally raised human being still living in three dimensions? Photo by Joel Ambass on Unsplash It is now commonly understood that one of the most profound questions facing humanity in the digital era is the functioning, use, care, connectedness and coordination of the human body with the mind. As a teacher of acting, I have witnessed first-hand a new reality in young actors born and raised in the 21st century: a general lack of ability to move with ease in three dime

As 2025 comes to a close, we’re taking a breath and reflecting on a full-circle year. In January, we reopened our doors, and over the past twelve months, our community has shown up with focus, generosity, and heart, reminding us why we do this work. Thank you to every actor who stepped into our rooms, challenged themselves, stretched their skill sets, and trusted us with your creative journey. We strive to meet our students where they are, and in doing so, you continue to tea

Photo by Mathias Reding on Unsplash Here we are in the middle of the Big Dark, Seattle's annual festival of SAD and human hibernation. What better time to consider the darker areas of your character's psyche? In Uta Hagen's Nine Questions, we are to ask: "What are my relationships?" The obvious answers come to mind when we begin working on this question as far as a given script: a mother, a sister, a child, a co-worker, a neighbor, etc. But when we dig into these relationshi

(Part of the Litany against Fear spoken by the character Bene Gesserit in Frank Herbert's DUNE.) For the actor, fear is the killer of the creative impulse and the willingness to take risks. Fear is what manifests the ghosts of judgement, failure, the critic-ego and the need to be "right." Simply put, fear is the greatest obstacle to an actor's development while training. As one develops the skills of an actor, one is acquiring the facility of using the tools of the craft, the

While I miss being in the room with our courageous and disciplined students this quarter, stepping back into a rehearsal process has been...

You may have noticed I’m not teaching this quarter. Huge thanks to Andrew for stepping in to teach our advanced class while I am in...

The actor needs to use time and space as creative tools.

Imagining Yourself Living Truthfully in the World of a Character: The Magic "If" When Konstantin Stanislavski defined his Magic "If," he...

An argument for the lost habit of reading . Photo by Tom Hermans on Unsplash A mind that is able to think critically, that is to say, a...

Defining units of action: the elements of a scene. Playwrights use acts and scenes as demarcations to frame units of dramatic action in a...

Photo by Callum Skelton on Unsplash Most people who don't create drama in some form or another as a career equate acting with emotion....

One of the first things I tell actors—especially those new to the craft—is this: If you don’t believe in what you’re doing, no one else...

Photo by Tino Rischawy on Unsplash Actors often ask if there is a technique or method to making sure one is truly living "in the...

University of Washington As the cherry blossoms bloom across Seattle, The Studio Seattle is also in full bloom. Due to an overwhelming...

Why text analysis is foundational work for the actor. Photo by Patrick Tomasso on Unsplash When Hamlet admonished the actors visiting...

The acting process asks us to go to some unpleasant places sometimes. Photo by The Chaffins on Unsplash A phrase that is said by some...