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Autumn session

From October 8 to December 13, 2012


Winter Session

from January 14 to March 21, 2013


Spring Session

From April 22 to June 27, 2013 

There are no translations available.

Le talent, c'est la hardiesse, l'esprit libre, les idées larges

Anton Tchékov 

Cours Franco-Américain 

Except where otherwise noted, classes are tought in French with English translation as needed. Actors may present scenes in English.

If you want to participate as a director, you can attend to some classes or workshops. After some observation session, you will pick a scene to prepare and present with actors of the classes. You can also use your own materials (plays, scripts, etc.) 

American Acting in Paris

Monday, 7:30 - 10:30 PM 

Technique and scenework, with particular focus on Anglo-American scripts. Techniques explored in the first part of each class (sensory exercises, improvisation, visualizations, etc.) are then applied to the work on scenes as needed, to help the actor develop a clearer understanding of his or her creative needs and progress.

This class is taught exclusively in English.


Technique and Scene Study

Tuesday, 7:30 - 10:30 PM

Sense memory and complementary techniques used as preparation for scenes, which are explored in terms of given circumstances, objectives, transitions, etc.

The connection between personal technique and dramatic structure is clarified.


Paris Summer Workshop

Paris Theater Workhop, july 18 through july 22, 2016

 Paris Summer Workshop 20164 - FACT

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Alive Technique

THURSDAY, 10:30AM - 1:30PM

The word "technique" refers to a conscious method for better fulfilling a given task and/or developing a coherent global methodology in a given human activity. There are techniques for learning, doing and succeeding, in just about every area of human knowledge and activity. It stands to reason that the most successful techniques are those best adapted to the nature and functioning of the activity involved. If the actor's goal is to be , - not simply "natural" onstage, - but spontaneouly alive in the moment, then it follows that her/his technique must also be alive.


Exercises as well as individual and group improvisations to: unblock habitual neuro-muscular tensions; de-control breathing; mobilize energy; free the natural voice; stimulate imagination; develop physical/sensory-based exploration and the ability to discover the next moment.


Oct. 8: guided warmup, including: unblocking tensions through physical awareness, using selected Pilates exerciceses, among others (all); exercises to release open the channel for sound (all); creative visualisation and sensory exploration of the images (all); improvisations based on these exercises (all).

Oct. 15: guided warmup (all); sense memory exercises (all); two-person improvisations using elements from the sensory exercises (all).

Oct. 22: guided warmup (all); mirror exercises (all); improvisations using elements of behavior developed in the mirror exercises (variable participation).


The cumulative effect of the intensive work in this class helps actors of all levels to develop her/his own technique towards acting that is simpler, more concrete, more physical, more profound, more personal, more spontaneous, more inventive - to sum up: more alive.

Some steps along the way: learning through doing: to explore a starting inspiration (for example, a given circumstance of the character or the world of the play) rather than to execute an idea; to welcome surprises; to follow one's impulse; to give in to and let out freely one's emotions; to speak according to one's feeling in the moment rather than in order to indicate what one believes the character should be thinking/feeling... 


Master Class

FRIDAY, 10:30AM -1:30PM

To act is to tell a story through behavior. In order to do so in an alive way, the actor needs to become personally involved in the life of the character and the world of the play, supported by a creative process based on self awareness, emotional availability, exploration and letting go.


In addition to the basic work described above, scene study as practiced in the MASTER CLASS features an organic, integral approach to realizing the dramatic structure of the play and transforming the actor's behavior to embody the character's story.
The dual principles of exploration and letting go are conscientiously applied to scene work, leading the actor to discover - by experiencing them - the conflicts inherent in dramatic structure. In exploring the objectives and actions engendered by these conflicts, the actor also discovers another way of being; behavioral transformation without betraying spontaneous emotional reponse.


Oct. 9: First readings and first passage of scenes, basic work (participation will vary).
Oct. 16: First and/or second passage of scenes; exploration of given circumstances and relationships, articulation of the changes within the scene...

Oct. 23: Continuation of the work to ensure that every participant experiences the alive approach and is moving forward.

Each scene will be worked on in class at least three times, which means that preparation outside of class, according to guidelines furnished upon enrollment, is mandatory.


Consciously applying the Alive Technique appoach to scene work helps the actor to build - or to re-build - his/her own creative process, so that the actor's work becomes more aware, more spontaneous, simpler, deeper, more committed, more free and more filled with joy....

NB: This workshop is bilingual; it is possible to work in French and/or English. Admission to this workshop is by interview AND audition, consisting of a monologue no more than two minutes' duration chosen from a play (no novels or other texts). 


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