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FOR THE OUTER SELF:

presentation - action problems - improvisations scenes, variation on a theme - emotion memory - sense memory, camera looks - color therapy and sensitivity - make - up techniques - dress sense - diet - speech – diction voice placements and voice - recording and much more !!!
Various workshops to be conducted by NSD graduates who has worked in film and television and acting professors at NSD.

FOR THE INNER SELF: The student must know how to take success and failure in the same stride. It brings as harmonious balance in one's life and therefore, life becomes more & more beautiful everyday - in every field of life, be it business or personal, be it film line or any other line. Owing to the hectic pace of life, today's man/woman needs to bring his/her mind to live one day at a time and to live moment to moment. To achieve this, the student is put through meditation and therapies to bring him/her from the mind region to the no mind region which also is the creativity center of a person.

BOLLYWOOD CHOREOGRAPHY
Is taught by a Professional Dance teacher 

VIDEO-CAMERA PRACTICALS
The candidate is made to act in front of the camera and the results show from time to time so he/we can gauge his/her improvement in acting and appearance. This is done at NO EXTRA CHARGE.

SPECIAL VIDEO SCREEN TEST
A Screen test which consists of different of acting done by the candidate in the form of scenes, improvisation playback, dance, fights etc. is recorded on a digital format, which can be shown to the various Producers & Directors. It helps the films Makers to gauge the talent of the Candidate.

PHOTO SESSION
The candidate has to have a set of professionally - taken photographs to be shown to the various Producers and Directors. Portfolio.
MODELING
1. Portfolio
a) The look b) The type c) Photography d) Posing
2. Clothes & dressing
a) Season b) Comfort c) Color d) Casuals e) Formal f) Accessories g) Health care
3. Make up
a) Face b) Camera c) Lights d) Hair e) Skin f) Look g) Bone structure
4. Getting the act together
a) Modeling b) Ramp c) Facing the camera d) Stills e) Commercials
5. Networking
a) Getting started b) Meeting the right people c) Modeling agencies
d) Photographers e) Advertising agencies f) Production houses g) Directors
6. The final take
a) Handling the clients b) shoots c) Negotiating d) Signing Contracts e) Getting paid
 

PROFESSIONAL   FACULTY: 
FACULTY coming to conduct workshops of 3 hours duration each FROM 2:00-5:00 with 30 mins tea break are graduates from NATIONAL SCHOOL OF DRAMA (NSD) who has worked into the television serial or films and have strong inclination for teaching and sharing acting knowledge. So far following acting teachers have conducted workshops with various past batches.
 Prof Dinesh khana. Acting Professor NSD. Who has worked as lead actor in TV serials and characters artist in Feature film?

1.    Prof. Hema Sahai. Voice and speech professor .NSD.
2.    Hemant Mahawar, ex NSD graduate working as an actor in Bombay.
3.    Ms. Banni Sharad, ex NSD graduate working as an actor/DIRECTOR in Bombay.
4.    Sanjay Gatum, ex NSD graduate working as an actor IN SINGAPOOR. 
5.    Surjeet, ex NSD graduate working as an actor IN Delhi
6.    Ms. Zhilmil Hazarika, ex NSD graduate working as an actor in Bombay.
7.    Ms. Rasika, ex NSD graduate working as an actor in Delhi.
8.    Ms. Renu Garg, ex NSD graduate working as an actor in Delhi.
9.    Anil Sharma, ex NSD graduate working as an actor in Delhi.
10.  Rudro, ex NSD graduate working as an actor in Delhi.
11.  Kailash Pandit
12.  Laxmi Rawat, ex NSD graduate working as an actor in Delhi.
13.  Durgesh Kumar. Ex NSD graduate working as an actor in Delhi.
14.  Dr. Sawarn rawat, ex NSD graduate working as an actor in Delhi.
15.  Dinesh Khanna. Ex NSD graduate working as an actor in Delhi.
16.  Mr. Ashis Khare
17.  Lokesh Jain.
18.  Chorographer Mr. Hitesh
19.  Choreographer Mr. Jassi.

Detailed Syllabus:

•    Traditional and contemporary uses of the above gestures, stances and movements, Eyes, head and neck movements

•    Discussion and practice of the use of levels of the body- standing, half sitting, full sitting – and of the stage to express character and situation; combining various speeds and types of movement to express abstract ideas

The acting course charts a passage from an understanding of the self, keeping the creative resources of the student actor at the center, and then expands to take account of characterization, character, textual interpretation, and an awareness of acting styles, so as to broaden the vision, imagination, and skill of the actor. Classes include sessions that deal with improvisation, movement, physical suppleness and expressivity, vocal kills; sessions also focus on psychological and emotional discovery. A study of Indian and western methodology is also included in the course. 
1.    Working on body 
(a)    warm ups through games and exercises to open up physical and  emotional levels of awareness and responsiveness 
(b)     Muscular relaxation; centering the body; developing flexibility, sensory sensitivity and non-verbal expression. 

2.    Working on basic mental resources like concentration and observation, sensory and emotional recall, imagination, and the concept of ‘as if’ ; through tracking, exploring the meaning of an inner monologue in the course of developing action.
 
3.    Working on emotions:  The process of an approaching emotion will be explored both the ‘outside in’ (bodily action leading to the birth and expression of emotion) and ‘inside out’ (thought process leading to emotion).

4.    Improvisational work based on emotional recall and imaginary circumstances will be done to harmonize body, mind and emotion in action.
5.    
•    Warm up exercises that help to focus on impulse, instinct and intuition; exercises, games and etudes based on understanding the importance of a moment and dealing with the implication of repetitive action.
 
•    Improvisation that help in developing specific situation and exploring specific circumstances that give rise to a situation by basing exercises on the 4 Ws (Where, Why, What/When)

•    Text analysis-to be done in order to understand the subtext and in order to convert the subtext and text into images, by means of psychological gestures and material objects.

•    Special attention will be paid to the understanding of the unity of time, of place (space), and action; of environment, situation, and props.

•    Sense of composition in order to explore the stages picture, the mise-en-scene.

•    Process of building a character, which includes exploring the relationship between the actor’s body and the character’s body.

•    Scene work based on the exercises above.

1.    Scene work based on realistic acting
Thought, motivation, the ‘how’ of action-lightness/weight-‘bubble’
The touting, spare time activities of characters; what the character wants; external action and inner monologue, emotion, relationships mood and moment. 

2.    Scene work
Stamina, stance, movement, rendering of dialogue- facing an audience executing a stage action by basing one’s acting on Paris theater codes.

3.    Inputs  that will be parts of regular classes
(a)    Work on aspects like observation, interaction, concentration, relaxation, action. The basis of these faculties in the actor’s work will be explored. 
Stylization and its experiential base. Indian Movement and Abhinaya: codes; stances;   mukhaabhinaya; detailing of three ‘moment’. The extension, understanding and generating of rasa.
Input that will be part of regular classes
1.    Moving away from Realism – possibilities of detachment through narration and narrative acting. Alienation in acting: separation of the actor’s self from the role that is being played. Further understanding of some traditional forms and their approaches to acting.
2.    Basic principles and exercises devised by Brecht for distancing, and including, the audience in the performance: breaking the mythical fourth wall.
3.    A 10- minutes performance based on work that interprets skills and approaches imbibed. The objective is the students should not only understand different styles and techniques of acting, but that they should also be able to discover wherein lies their strength, and the areas they still need to strengthen themselves in. this objective should also be carried into the III year so that they may then devise and create performances that are complete in nature.
                                 VOICE & SPEECH

The objective of voice and speech training in CRAFT is that the actor should have a free settled natural voice with a wide pitch range, variety of volumes and with kaleidoscopic textural qualities, which can be articulated as clear speech in response to clear thinking and the desire to communicate. The actor should also be able to deal with different kinds of text and at a later stage be able to evolve new formats for his, or her, creative expression.
Theory
              How the voice works
(a)    Vocal development: How does the voice develop?
Practical
1.    Relaxation of body and mind:
Exercises for relaxing spine, head, neck and shoulder. 
(a)    Activating the source of energy
Film Music 

To enhance the student’s awareness of the basic concepts of Music in relation to theatre and to familiarize and develop sensitivity towards musical and unmusical areas of sound by observation and practice. To recognize one’s singing voice. In culeating a sense of staging music as a total theatre concept in general aesthetic terms and specific the theatrical uses.
Introduction 
•    Pitch, Volume, Timbre
•    Pauses and silence in music  
                                                            BODY MOVEMENT
The beauty of moving lightly. De-conditioning the body. Removing bodily inhibitions.
Exercises for loosening up the body and improving of stamina: the head to toe exercise. Various kinds of jumps and leaps. Stretching exercises. Exercises taken from the western ballet. Various ways of walking on the stage. Walking across the stage. Walks that cover the whole stage
                                                      Acting Scene-Work 
Focus on characterization, partner work, developing an imaginary body for a character, studying contradiction in character, improvising on space, and solitude for a character. Working mainly an realistic texts and the search through these on the meaning of subtext as it appears in objects, movement, and the spoken word.