From Stanislavsky to Strasberg to Swanson, Method Acting still lives in it's purest form. The art of Brando, Pacino, DeNiro, Rourke, Hoffman, Sally Fields, Ellen Burstyn and Jimmy Dean survives in the way that these masters learned it, but is an art that must be passed down person to person that Gary has been doing that for decades.
In 1994 Gary Swanson was asked by James Lipton, Paul Newman, Ellen Burstyn, Arthur Penn and the executive committee at the Actors Studio to be the first of four member teachers to pilot the program now called the Actor’s Studio MFA program originally at the New School for Social Research and now at Pace University. Gary taught that program for three years and then returned to his acting career. He’s taught at the NYU summer program, Circle in the Square and currently moderates and leads sensory class at the Actor’s Studio. He learned this work training privately and at the Actor’s Studio with Lee Strasberg for eight years.
His students have an extraordinary rate of success in the commercial arena. They are not actors who languish in class without commitment but are instead are driven to employ their learned skills to give back to audiences who hunger for this almost lost art: Method acting.
His classes in Manhattan are divided into three categories - weekly workshop, one-on-one coaching, and specialized training (includes summer programs). New and experienced actors welcome to apply.
WEEKLY MASTER CLASS -
A year-long development workshop, this Wednesday class convenes a small group of working actors for guided sensory exercises, scene work, and other related activities to stretch themselves and expand their possibilities as an actor. We take on challenging material and exercises in a safe and supportive atmosphere. Gary expects you to work outside of class, and coaches your progress as an actor within it. Read below an actor's view of the class.
PRIVATE COACHING -
Gary coaches many actors in a one-on-one setting including David Groh, Lanie Kazan, Mary Stuart Masterson, Patrick O'Neal, Paul Gleason, Tuesday Weld and Valerie Perine.
SPECIALIZED WORKSHOPS
Gary also conducts specialized intensive courses for actors as well as for groups such as lawyers, doctors and filmmakers. Contact Us for more details.
ONE
STUDENT'S
STORY...
--Marco Malgiolio
As an aspiring New York City actor, I have constantly stressed upon myself the necessity of executing the daily regimens of my method of study to facilitate artistic growth and maturity. The weekly participation of acting classes and/or coaching sessions; the learning center that allows the actor to continue the work on their own outside of the classroom is where the process is learned. We learn that the application of exposing the body to the daily repetition of these exercises is the same process that an athlete endures in order to keep his/herself at the highest level of competition, which in turn escalates and maintains ones talent level. This only happens however, if the class instruction is benefiting the student.
In New York City, a city of hundreds, if not thousands of aspiring actors, musicians, dancers etc., finding the right method of instruction can seem like a daunting task at best, partly because there are so many instructors or 'schools' in existence that claim success for their curriculum. How many times have I read various postings on bulletin boards found hanging in libraries, schools, book stores and the performing arts union offices, advertisements from teachers and various institutions that promote their 'method' of instruction; further going into detail about how their method will help the student improve and what it will do for them. Some are legitimate, and some are....well....simply put....a scam. How to sort through the pile of claims to figure it all out, sometimes the only way to do it is to participate and see for oneself. This requires a lot of time, money and lots and lots of patience.
I have been lucky. Throughout my years of study, when choosing a school or instructor, I have avoided the many pitfalls that one can fall into through recommendations of trusted individuals and by relying on pure instinct, but I have made my share of mistakes as well. The one thing I noticed about acting classes is that most of them tend to deal with scene work and scene work only. You go in there, and if you have a prepared scene with a scene partner, you proceed to work in front of an audience followed by a critique from the instructor and sometimes by fellow classmates. On average, the whole process can take up to about 20 to 25 minutes. Not a lot of time for a class that could last up to 5 hours, depending on class size. However, if you don't have anything prepared, then you sit there for the entire duration of the class watching the work of other classmates. While there is no question that one can learn a substantial amount by observing others, doing this alone can potentially become a monotonous process and eventually make one feel detached from the class experience. In essence, you pay for a 5 hour class to sit in a chair. It's a lot of time, energy and money to feel detached and uninvolved. This was the rut I fell into at one point. At the advice and counsel from a former acting coach, I switched gears and I sought out Gary Swanson and hired him as my new acting coach.
I wasn't going to continue the boredom and disillusionment any longer. Being a musician as well, I recognized the value of individualized attention; i.e. the weekly private music lesson for one on one instruction. I knew this was the best learning environment for me and as a result, I have become an accomplished musician who still continues to learn and grow. Over several months, after Gary's constant urging to join his class, I was adamant about abandoning class instruction and further explained to him in detail that the class scenario was not the way for me to go. He understood and respected my feelings and never pressed the matter any further.
Eventually, I gave in. Gary had moved the start time of his class from 7pm to 4pm. The earlier scheduled time coincided with my part time work schedule so there was no reason not to give it a try. It had an immediate impact on me. I noticed the camaraderie of the class immediately that was both genuine and sincere. As the class got under way, the first hour was spent in discussion pertaining to all aspects of our lives and how it fits in with our work. The whole class was involved. It wasn't an instructor lecture, it was a discussion.....A GROUP discussion. The next hour and a half was dedicated to 'the work'; the method of Leigh Strasberg. We worked...again, as a group on relaxation and sensory exercises. Everyone participates! Everyone is being watched and observed by the instructor at all times. No one is excluded. If anyone is excluded, it is because they chose to exclude themselves from the work. By 6:45, almost three hours into the class, after much discussion and class work, we were now ready to watch individual scene work. Three hours of non stop participation AS A GROUP...quite a difference from previous class experiences.
Gary takes a personal interest in all of his students. He is always concerned about their welfare and accomplishments. That being said, I suppose I shouldn't have been surprised when he asked me to bring in my French Horn and play for the class to further explore the inner feelings and emotions of my inner actor. For me, pursuing a dual career in acting and music has always been a thrill for me but to explore both artistic forms at the same time in the same forum was a new and exciting step. I always felt that my musical training complemented my acting and vice versa. Now I was given the opportunity to see first hand how the two really go hand in hand; discovering how the same emotions and exercises for the actor in me can be applied to my music making, and in turn, how I felt playing the music in front of an audience can also be applied to the actor. The day I brought my instrument and played for the class was a discovery and experience I will never forget. Telling this to Gary, he smiled and said to me 'this is your laboratory, it's your workplace for self discovery. Bring your horn in as much as you'd like and play your piano as well. I hope you continue to do so'. I plan on it!
Many Thanks Gary. I look forward to more growth in my artistry with your guidance and friendship.