After a 30 year experience in teaching, we believe that the greatest difficulty in learning this technique, is the individuality of
research, because the METHOD is a personal path that every actor or wannabe actor must follow, thatís why the role of the COACH is
fundamental (underlying) , because each person react to the stimulation and the research of this technique in different ways.
We canít imagine or predict when or how the actor will release himself and will discover the sensorial world. The first rule is: no
rules. We need to learn the art of silence, of listening, of self-criticism. Itís not a take away technique!!
The METHOD is like a big love that grows day by day and surprises even after a long time. By the way we can tell that to reach quite good
skills with the METHOD it takes two or three years study, (with two or three meetings per week). Then , as it works in the ACTORíS STUDIO,
you can train over the years just as in a gym.
Our function is to lead the actor-instrument (tool) knowing his physical and sensorial body, release him from his emotional and physical
tensions, help him analysing the characters and create a working environment where exchange views, stimulate each other and evolve.
Ilza Prestinari, faithful to the Stanivslaskij system and the Strasberg method, proposes a mixture of aimed exercises to release the