The Economics of Acting Classes
By Karen Hartline, N2Arts Correspondent
How to find the best acting classes without breaking the bank
 

e all have our favorite parody of what an acting class is like. You know the ones depicting the over-dramatic teacher having emotional convulsions at the site of a student’s impression of a kitchen table. Sadly, sometimes the imitation is all to close to the reality and you wind up wasting a pretty penny trying to find the perfect class. How do you avoid the riff raff and find quality classes without breaking the bank? Here are some suggestions to help you as you decipher between the professionals and the parodies so your money is well spent!

A promising product is always worth the money. How does an acting teacher show promise?  Credentials.  An acting teacher’s credentials should be public record. Find out not only about the teacher’s stage and screen credits, but also about his or her students.  Ask what the students’ successes have been, be they professional or conservatory credits. If the teacher has a good percentage of steadily working students, then perhaps he or she could help you get where you want to go professionally. That, of course, is worth your money.

Blind faith is not a good financial plan. With most products, you have a 30-day return policy. With acting classes, you have auditing. Great credentials do not necessarily mean that you are going to “click” with an instructor. Always request to sit in on a class with the teacher of your choice before signing up. If the school does not allow audits, inquire about weekend intensives. This is a way to get to know the teacher while presenting less of a financial commitment. Ask yourself: Does this teacher create a comfortable environment for the students? Does the teacher give his or her critique and direction in a way that produces positive results? Does the teacher challenge the students? Remember, there is a difference between constructive criticism and abuse. You have to be honest with yourself about what you will respond to as an actor.

Get the right bang for your buck. When I say “bang” I’m actually referring to the right method. How do you find a method you like? Well, I hate to tell you, but you’re going to have to do some research. Before you waste your money on a class, start reading about Stella, Uta and Stanislavski because they are likely to come up in a conversation with a potential instructor. Technique is more important than the lessons of on-camera versus off-camera acting.  Most teachers will tell you not to venture into an on-camera class right away because it makes beginners too concerned with what they look like, causing them to ignore their technique. This is good news for those of you saving your part-time job pennies because on-camera courses tend to be pricier!

More money is not more better. That grammatical error was just to get your attention because this is important! Quality teachers should be competitively priced. If you find one that is outrageously more, it doesn’t mean that you’ll be able to pack your bags for Hollywood after the first class. Private coaching will usually be significantly more than a class, but private coaching should not be your source for training. Private coaching is more appropriate when you are training for a particular part or an upcoming audition. You may not be able to audit a session but the teacher should be able to offer you a consultation or interview before you make your decision.

It never hurts to ask. If you are really strapped for money, work-study opportunities are available at some schools, so you can make that part of your criteria as you shop around. The instructors you interview should be prepared for your barrage of questions. It is safe to say that they would even be impressed with your diligence.

Still confused about how to make that final choice. Take some advice from those who have been there.

“You learn more when you work with people who have more experience,” says Chuck Bradley, who started taking acting classes when he was 10 and now attends the Boston Conservatory. “Be familiar with different styles and techniques and look for a teacher who you connect with.”

“Always train, work on your acting muscles,” says Jordi Vilasuso, who won a 2003 Daytime Emmy Award for Best Younger Actor. “Find a teacher that sees your strengths and works with your weaknesses.”

If you are going to be a professional actor, you should learn to manage your money. Never deprive yourself of the training you need to nurture your talent, even if it means working overtime at Starbucks. A great teacher could help you reach all of your professional goals. When you find the right one, you have spent your money wisely.

Karen T. Hartline is a former New York City public schoolteacher. She is currently a freelance writer living in New York City.