<p>I'm a prospective drama student and aspiring professional actor, and I hope to continue with acting as soon as I graduate HS, but I seem to differ from many on this board, as I truly have no desire to complete a full four year program. I would much rather go to a two year conservatory(AADA, Stella Adler, something along those lines), then begin to try and find work as a professional actor, and I was wondering, for those of you knowledgable with all of this, does this seem like an alright plan or a big mistake? I have been training here for about two years, granted it's not anywhere near "intensive," as it's only two days a week for 3 1/2 hours, and I do without a doubt want and perhaps even need more training, but I just don't think I can go through with four years. I have always felt like I was not meant for a classroom, even if it's of a topic I love, and am much more suited for really getting out into the world and figuring out things for myself as soon as possible. Is the plan of going to school for two years, then beginning to work (or at least try to find work in LA) something any of you plan on doing/would recommend or would it be a waste or time/money?</p>
<p>Its all about fit. What is right for one is not right for another. Check out those places and see if they really do work for you. I know a student who went the two year route and it worked for her. She found regional work and is now doing cruise line work and is happy. Another that is in a two year program loves it…because it was right for her. If you do your research and know it is what you want…go for it!</p>
<p>There are so many different paths, and what is the right choice for one person can be the wrong choice for another.</p>
<p>I know an extremely talented young man who was accepted to a well-respected program and attended for a year. He felt like he was wasting his parents’ money and left college. He moved to New York, and has been working whatever subsistence jobs he can find, taking classes as he can afford them, and trying to get work in theater. It’s been a tough four years, with a few short-run jobs, but nothing even close to consistent work. The students he started school with have now graduated, and seem (to him) to be having much better luck with finding employment (not only acting jobs, but “day jobs” that pay the rent while they make the audition rounds.</p>
<p>He is now second-guessing himself, and wondering where he would be if he had completed his BFA.</p>
<p>Do his former classmates have a “leg up” due to their training? Alumni connections? Four years of consistent work/growth while attending school? Or do they have any advantage at all, or is this just his impression right now while he’s feeling discouraged?</p>
<p>There will be anecdotal evidence for both paths but that is irrelevant for you. This is a college website so of course that is what most people want here. Do what you think works best for you, no one else. Understand that it is a tough field no matter what route you take. Non-acting employment might be easier with a four year college degree but who knows. (Waitering, bartending and catering don’t need a degree I don’t think.)</p>
<p>Whatever you choose, make sure you attend a reputable program that’s right for you. Good luck!</p>
<p>I agree with everyone else. You have to do what is right for you. The 2-year programs you are looking at have produced many talented and succesful actors.</p>
<p>Those 4-year programs aren’t going anywhere, so if sometime in the future you regret not having a 4-year degree, you can always go back and get one.</p>
<p>(And have you thought about THREE year programs?)</p>
<p>KEVP</p>
<p>Didn’t a parent (Chrissy?) whose D graduated from UCLA this year said earlier that her D now thinks a 2- year program might have worked better for her? I remember I thought it would be interesting to see what the parents of the kids who graduated or about to graduate from BFA programs think about that. I understand this is a college board but still, a discussion on 4 years college vs 2 years conservatory could be interesting especially if people share their thoughts/feelings from their own experience.</p>
<p>I believe my D would love just to get some training and then explore the field in NYC/LA. I am the one who insists on her going to the college because I believe everyone should get an education first. Unlike KEVP (sorry!) I don’t believe you can always go back to college later. I know many people who could not get a bachelor degree simply because there is time for college and there is time for work. Of course they regret it!</p>
<p>Yes, please. I would love to hear from grad parents, as well. We know a few kids who headed to LA out of high school with varying degrees of success or not so much. Mostly they are doing student films and guest spots for 18 to play younger. But how will this play out is still a big unknown. They won’t look younger for all that long and a new crop is right behind them. Then what happens. No training and now they’re competing with the BFA grads. Yikes! I also think the idea that college is not going anywhere is overstated since college is not free and life very quickly gets in the way of going back to school later.</p>
<p>Student loans are still going to be available when you get older. I was surprised to find that out in my life. Nobody said “No you can’t have this loan, you are too old”. Scholarships as well.</p>
<p>If the source for funding is parents, are they really going to say “You can only have this money if you go to school RIGHT NOW. Otherwise we are going to spend it on ourselves.”?</p>
<p>I have met ALL KINDS of people who go back and get an education, or a re-education in a different field when they are older. Some of them in their 50s or even older. There are lots of ways to do this, some are part time students so they can work as well.</p>
<p>The reality of the work world today is that people change careers several times over their worklife. Many people re-invent themselves by going back to college. It’s now completely normal, and even respected.</p>
<p>It isn’t “wrong” to not want to go to college for training although I think the wisdom of going straight to the studios for a kid straight out of high school is questionable at best well over 95% of the time for even the most mature and streetwise kids from out of town even if they’re reeeeeeally good looking and mad talented. Hollywood is tough … I gave a brief lowdown on another thread a couple of months back and I was not being sarcastic … </p>
<p><a href=“http://talk.collegeconfidential.com/16240253-post6.html[/url]”>http://talk.collegeconfidential.com/16240253-post6.html</a></p>
<p>As far as two year programs, the ones I would recommend are:</p>
<p>[Art</a> of Acting Studio](<a href=“http://www.artofactingstudio.com/]Art”>http://www.artofactingstudio.com/)
[Stella</a> Adler, LA](<a href=“http://www.stellaadler-la.com/]Stella”>http://www.stellaadler-la.com/)
[Ruskin</a> School of Acting](<a href=“http://www.ruskinschool.com/]Ruskin”>http://www.ruskinschool.com/)
[The</a> William Alderson Acting Studio](<a href=“http://www.aldersonstudio.com/Home.html]The”>http://www.aldersonstudio.com/Home.html)
[Elizabeth</a> Mestnik Acting Studio](<a href=“http://www.emasla.com/]Elizabeth”>http://www.emasla.com/)</p>
<p>Some other reputable technique and scene study studios I would recommend you look into if you already have a solid acting foundation and you just want regular classes with maybe a quickie intensive first:</p>
<p>[Aaron</a> Speiser Acting Studio](<a href=“http://www.aaronspeiser.com/]Aaron”>http://www.aaronspeiser.com/)
[Marjorie</a> Ballentine](<a href=“http://marjorieballentine.com/]Marjorie”>http://marjorieballentine.com/)
[Beverly</a> Hills Playhouse](<a href=“http://www.bhplayhouse.com/]Beverly”>http://www.bhplayhouse.com/)
[Carter</a> Thor Studio](<a href=“http://carterthorstudio.com/]Carter”>http://carterthorstudio.com/)
[Diana</a> Castle](<a href=“| The Imagined Life | Los Angeles Acting Classes”>| The Imagined Life | Los Angeles Acting Classes)
[Howard</a> Fine Studio](<a href=“http://www.howardfine.com/]Howard”>http://www.howardfine.com/)
[Lesly</a> Kahn & Co.](<a href=“http://www.leslykahn.com/]Lesly”>http://www.leslykahn.com/)
[Vinnie</a> Guastaferro](<a href=“http://www.thesportofacting.com/]Vinnie”>http://www.thesportofacting.com/)
[Warner</a> Loughlin Studio<a href=“If%20they’re%20famous%20and%20I%20didn’t%20mention%20them,%20there’s%20a%20reason%20usually%20being%20that%20the%20name%20teacher%20has%20become%20greedy%20and%20keeps%20overcrowded%20classes%20where%20you’re%20lucky%20to%20put%20up%20work%20a%20couple%20of%20times%20a%20month.%20%20Even%20a%20couple%20of%20the%20ones%20I%20did%20mention%20are%20questionable%20in%20that%20respect.%20%20At%20some%20others,%20the%20main%20teacher%20has%20apparently%20lost%20his/her%20mojo%20and%20the%20quality%20of%20the%20training%20has%20declined%20over%20the%20years%20or%20he/she%20passes%20newbies%20off%20to%20staff%20faculty%20with%20questionable%20qualifications%20%20and/or%20teaching%20ability.”>/url</a></p>
<p>Theatrical Audition Technique that even conservatory BFA and MFA grads usually need before they’re ready to compete in the LA market:</p>
<p>[url=<a href=“http://www.coldreadingclasses.com/]Amy”>http://www.coldreadingclasses.com/]Amy</a> Lyndon](<a href=“http://www.warnerloughlin.com/]Warner”>http://www.warnerloughlin.com/)
[Annie</a> Grindlay Studio](<a href=“http://anniegrindlay.com/]Annie”>http://anniegrindlay.com/)
[Billy</a> O’Leary](<a href=“http://billyoleary.com/]Billy”>http://billyoleary.com/)
[Krater</a> Studios](<a href=“http://kraterstudios.blogspot.com/]Krater”>http://kraterstudios.blogspot.com/)
[Margie</a> Haber Studio](<a href=“http://margiehaber.com/]Margie”>http://margiehaber.com/)
[Robert</a> D’Avanzo](<a href=“http://www.robertdavanzo.com/Site_2/Home.html]Robert”>http://www.robertdavanzo.com/Site_2/Home.html)
[Saxon</a> Trainor](<a href=“http://www.saxontrainor.com/thework.html]Saxon”>http://www.saxontrainor.com/thework.html)
[Stan</a> Kirsch Studio](<a href=“http://stankirschstudios.com/]Stan”>http://stankirschstudios.com/)</p>
<p>Commercial Audition Technique:</p>
<p>[Carolyne</a> Barry](<a href=“http://carolynebarry.com/]Carolyne”>http://carolynebarry.com/)
[Killian’s</a> Commercial Workshop](<a href=“Sample Page - Killians Workshop”>http://killiansworkshop.com/)</p>
<p>Improv that’s not only good for you but is a must have on your resume to get decent commercial rep:</p>
<p>[The</a> Groundlings](<a href=“http://www.groundlings.com/]The”>http://www.groundlings.com/)
[Improv</a> Olympic](<a href=“http://www.groundlings.com/]Improv”>http://www.groundlings.com/)
[Second</a> City<a href=“I%20think%20they%20require%20that%20you%20have%20at%20least%20some%20college%20to%20be%20admitted.”>/url</a>
[url=<a href=“http://www.ucbtheatre.com/]Upright”>http://www.ucbtheatre.com/]Upright</a> Citizens Brigade](<a href=“The Second City”>The Second City) </p>
<p>Another thing to consider is that all except the first two Adler conservatory programs I listed don’t offer much in the realm of voice, speech and movement work which is a lot more important in screen acting than you’d think. So, you might want to think about supplementing with a qualified [Linklater[/url</a>] or [url=<a href=“http://fitzmauricevoice.com/locations/]Fitzmaurice[/url”>http://fitzmauricevoice.com/locations/]Fitzmaurice[/url</a>] voice teacher who’ll also work with you on your diction and/or an [url=<a href=“http://www.alexandertechnique.com/teacher/northamerica/]Alexander”>Find an Alexander Technique Teacher in the United States or Canada – The Complete Guide to the Alexander Technique]Alexander</a> Technique](<a href=“http://www.thelinklatercenter.com/designated-linklater-teachers/geographical]Linklater[/url”>http://www.thelinklatercenter.com/designated-linklater-teachers/geographical)teacher to get anything in that realm even approaching what you’d get from a decent college program. There are also about ten gazillion dance studios around town that might be beneficial. </p>
<p>Also check out what Ben Kingsley has to say about formal training in his [Inside</a> the Actors Studio Q&A at 40:31](<a href=“- YouTube”>- YouTube). Amen.</p>
<p>P.S. The expensive four and five letter acronymned programs like the one the OP mentioned in his original post have terrible reputations around town whether they’re deserved or not.</p>
<p>P.S.S. Those lists are obviously not all-inclusive and just include the good places I happen know about. [Backstage</a> publishes a somewhat complete comprehensive list.](<a href=“http://www.backstage.com/advice-for-actors/resources/los-angeles-acting-schools-and-coaches_6/]Backstage”>http://www.backstage.com/advice-for-actors/resources/los-angeles-acting-schools-and-coaches_6/) Just be forewarned that more than a few LA studios are headed by Charlatans with no real qualifications to teach anybody anything although they often talk a good game and spend a lot on advertising so as to take your money and waste your time.</p>
<p>Thanks for the Ben Kingsley reference, FBF; sending it to my first-year BFA acting son, who has found his tribe and, like all of them, will need to cultivate patience while waiting for his first arrow. :)</p>
<p>^ I hope he gets whatever boost he needs from it. </p>
<p>Another scene study/technique studio I forgot to mention about which I’ve heard good things is [Berg</a> Studios](<a href=“http://www.bergstudios.com/]Berg”>http://www.bergstudios.com/).</p>
<p>Now that I check, I messed up the link to [Improv</a> Olympic](<a href=“http://ioimprov.com/west/]Improv”>http://ioimprov.com/west/) and linked Jen Krater’s blog instead of the actual [Krater</a> Studios](<a href=“http://www.kraterstudios.com/]Krater”>http://www.kraterstudios.com/) website. </p>
<p>It also seems odd that I would say that coming straight to LA would be a bad idea for over 95% of kids straight out of high school and then recommend a bunch of studios. I guess those are for the less than 5% for which it might be the right choice. Seriously. Kids come out all the time who aren’t talented or good looking enough to overcome their lack of training and can’t get solid training because they’re too tied up with just trying to survive and keep roofs over their heads to afford it. The ones who get by without a lot of financial support from their parents and sometimes thrive are most often those who can also make good money from modeling. Plus, while there are survivors, a lot of these kids’ careers hit the wall in their early 20s when they’ve aged out of the 18 tpy market if they haven’t reached “name” status and/or haven’t invested in consistent, solid craft-based training along the way. Not to mention all the various types of party scene casualties …</p>
<p>The other advantage of some type of training, whether it’s a conservatory or college or whatever, is the connections that you make while you are there. The faculty of a reputable program will have connections and ways to network and get yourself known. You will also have access to a network of alumni, those who have gone before.</p>
<p>Fish, can you give us that kind of a list of similar studios and intensives for the NYC market? or a reference to one of your prior posts where you discuss this if you already have? and thank you for your time.</p>
<p>^ So you want more Fishlinks, do you? :)</p>
<p>A much higher percentage of the working actors I knew in New York got their primary training in collegiate programs, so I’m not as familiar. But I can say that New York is a different animal than LA in that more of the studios are “one stop shops” that offer both conservatory programs and individual classes plus it’s a theatre town so they offer a lot more in the realms of voice, speech and movement - all in-house. I don’t know much about the ones that just offer individual classes other than there are a lot that delve into specific areas of interest. For instance, besides getting some private on-camera coaching sessions, I took some short-term/weekend Lecoq and Malmgren workshops that wouldn’t really count as a regular “classes” where you go to learn acting from the ground up. They were more supplemental to what I already had. But anyway, here is the [semi-comprehensive</a> list of New York classes and coaches from Backstage](<a href=“http://www.backstage.com/advice-for-actors/resources/new-york-acting-schools-and-coaches_4/]semi-comprehensive”>http://www.backstage.com/advice-for-actors/resources/new-york-acting-schools-and-coaches_4/)</p>
<p>As for the plus/minus two-year programs I know about, most of which also offer once-a-week classes … </p>
<p>[Atlantic</a> Acting School](<a href=“http://www.atlanticactingschool.org/]Atlantic”>http://www.atlanticactingschool.org/)
[The</a> Barrow Group](<a href=“http://www.barrowgroup.org/]The”>http://www.barrowgroup.org/)
[Susan</a> Batson Studio](<a href=“http://www.susanbatsonstudionyc.com/]Susan”>http://www.susanbatsonstudionyc.com/)
[Circle</a> in the Square Theatre School](<a href=“http://www.circlesquare.org/]Circle”>http://www.circlesquare.org/)
[HB</a> Studio<a href=“Reputation%20apparently%20back%20on%20the%20rise%20after%20being%20down%20awhile.”>/url</a>
[url=<a href=“http://www.maggieflaniganstudio.com/]Maggie”>http://www.maggieflaniganstudio.com/]Maggie</a> Flanigan Studio](<a href=“http://www.hbstudio.org%5DHB”>www.hbstudio.org)
[Michael</a> Howard Studios](<a href=“http://www.michaelhowardstudios.com/Michael_Howard_Studios/Home.html]Michael”>http://www.michaelhowardstudios.com/Michael_Howard_Studios/Home.html)
[The</a> Neighborhood Playhouse](<a href=“http://neighborhoodplayhouse.org/]The”>http://neighborhoodplayhouse.org/)
[Stella</a> Adler Studio of Acting](<a href=“http://www.stellaadler.com/]Stella”>http://www.stellaadler.com/)
[T</a>. Schreiber Studio](<a href=“http://www.tschreiber.org/]T”>http://www.tschreiber.org/)
[Tom</a> Todoroff Studio & Conservatory<a href=“Newer%20as%20a%20two-year%20program,%20but%20probably%20very%20good.%20%20Tom%20has%20a%20great%20reputation%20as%20a%20coach%20and%20that’s%20quite%20an%20impressive%20faculty%20he’s%20pulled%20together%20assuming%20they%20really%20teach%20there%20regularly.”>/url</a>
[url=<a href=“http://esperstudio.com/]William”>http://esperstudio.com/]William</a> Esper Studio](<a href=“Acting Classes in NYC | Upcoming Events | Tom Todoroff Studio”>http://www.tomtodoroff.com/)</p>
<p>On-Camera …</p>
<p>[Bob</a> Krakower<a href=“I%20had%20some%20private%20coaching%20sessions%20with%20him%20and%20he’s%20kind%20of%20amazing.%20%20He%20teaches%20his%20classes%20out%20of%20One%20on%20One%20which%20I’ll%20link%20later.”>/url</a>
[url=<a href=“http://www.mnactingstudio.com/]MN”>http://www.mnactingstudio.com/]MN</a> Acting Studio](<a href=“http://www.bobkrakower.com/]Bob”>http://www.bobkrakower.com/)
[Penny</a> Templeton Studio](<a href=“http://pennytempletonstudio.com/]Penny”>http://pennytempletonstudio.com/)
[Weist-Barron</a> Studios<a href=“Mainly%20known%20for%20commercial%20auditioning.”>/url</a>
[url=<a href=“http://committedimpulse.com/]Josh”>http://committedimpulse.com/]Josh</a> Pais/Committed Impulse<a href=“Not%20really%20on-camera%20and%20kind%20of%20hard%20to%20classify,%20but%20I%20know%20people%20who%20swear%20by%20what%20he%20teaches%20for%20auditioning.”>/url</a></p>
<p>A lot of people also do on-camera workshops at [url=<a href=“https://www.oneononenyc.com/]One”>https://www.oneononenyc.com/]One</a> on One](<a href=“http://www.weistbarron.com/]Weist-Barron”>http://www.weistbarron.com/) and [Actors</a> Connection](<a href=“http://www.actorsconnection.com/]Actors”>http://www.actorsconnection.com/). I suppose you could sort through all the semi-scammy casting director workshops which are usually taught by low level CDs, associates or even assistants who have no business teaching acting to find the useful ones. Like I’m sure Chazz Palminteri’s workshop at One on One is well worth the price of admission.</p>
<p>Improv … </p>
<p>[The</a> Magnet](<a href=“http://www.magnettheater.com/index.php]The”>Magnet Theater – Original Improv and Sketch Comedy Shows and Classes Since 2005)
[The</a> Pit](<a href=“http://thepit-nyc.com/]The”>http://thepit-nyc.com/)
[Upright</a> Citizens Brigade](<a href=“http://www.ucbtheatre.com/]Upright”>http://www.ucbtheatre.com/)</p>
<p>Of course again, these are just some of the places I happen to know about and have heard good things. …</p>
<p>Fish I’d love fishlinks to non scam casting and agent workshops in NY or LA that you would suggest going to once these kids graduate with a BFA or BA in theater and want to get seen by agents and casting.</p>
<p>When my son was 6 he did a casting director workshop at Actorsite in LA. He never did any in NY cause he was already working there. I have no idea if Actorsite has a good reputation. I know LA passed laws on pay for play sort of workshops.</p>
<p>justkeepdreaming, there is nothing wrong with it, but do consider you can also get studio training through the NYU program and still have a valuable degree, which is becoming, more and more, something casting directors and directors look for, but from particular schools. The choice is really yours, but you may be eligible for more aid with a four year program, and at 18, unlike someone who is beginning later like me, you still have plenty of time to build your career. Really, what you need to do is compare all of your options and apply to the ones that best fit your needs, whether two year or four year. I am 33 myself and opted to apply to Juilliard and NYU for four year training(though technically, it is possible to finish NYU in three for some people). Also, Stella Adler’s NYC daytime program is about 3 to 3 and a half years. Another possibility, which is my backup plan, is to get a degree in a related or secondary, unrelated field(this can provide inspiration) and do the studio classes as well. I plan to apply to Purchase College for Screenwriting & Playwriting plus Psychology and Stony Brook University for Antrhopology, and attend Strasberg and Adler for my actor training(one part time for a second technique, which is very important for professionals). I have friends that work at the Atlantic Theater Company/Atlantic Acting School, but the technique was not a good fit for me, but if you like Meisner and Meisner derived technique, it is well worth considering as well. I hope this helps.</p>
<p>
I don’t know a lot about workshop companies and the two I mentioned for New York are the only ones I actually know about. In LA, the West Coast branch of [One</a> on One](<a href=“LA Classes - One On One NYC”>LA Classes - One On One NYC) apparently carries a decent reputation and [Reel</a> Pros](<a href=“http://www.reelpros.com/rpcms3/?ts=131017144213]Reel”>http://www.reelpros.com/rpcms3/?ts=131017144213) is supposed to be okay. Although it’s not a workshop company per se, [The</a> Actors’ Network](<a href=“http://www.actors-network.com/]The”>http://www.actors-network.com/) also has a decent reputation. They can also be valuable for getting newbies acclimated to LA in general and even have online access to directions around studio lots and books of notes about the personalities and preferences of many of the major players in the business available to members. </p>
<p>The actual efficacy of workshop companies - especially for CD workshops - is often hotly debated although I don’t have a particularly strong opinion one way or another. It seems to be an individual thing to me. Do a search over on Backstage and you’ll find numerous discussions. I will say that I don’t think I know a single working actor who got his/her first break or representation that way. Not that they haven’t worked out for somebody somewhere … </p>
<p>Also keep in mind that most of the studios I linked do showcases and hold seminars and workshops with casting directors, agents, managers and even producers and directors from time to time. Some people consider that more respectable than paying to be seen at the workshop companies since they’re part of a legitimate ongoing class. Plus the name teachers have the clout to refer you to somebody when they think you’re ready, anyway. I do know people who advanced their careers that way. Like if Lesly Kahn or Warner Loughlin refer you to a specific agent, you’ll definitely get a meeting. People get seen doing plays, too. CDs, agents and managers really do scout those all the time and there’s [more</a> decent theatre going on in LA than the stereotype would indicate.](<a href=“http://www.backstage.com/advice-for-actors/secret-agent-man/doing-l-theater-may-get-you-agent/]more”>http://www.backstage.com/advice-for-actors/secret-agent-man/doing-l-theater-may-get-you-agent/)</p>
<p>In the article you provided a link to, Fish, Secret Agent Man says:</p>
<p>
</p>
<p>What is a waiver house?</p>
<p>^ I’ll just give a couple of fishlinks. :)</p>
<p>[Equity</a> Waiver Theater In Los Angeles](<a href=“http://www.theactorslife.com/business/equity_waiver_theater_in_los_angeles.html]Equity”>http://www.theactorslife.com/business/equity_waiver_theater_in_los_angeles.html)</p>
<p><a href=“http://www.actorsequity.org/docs/codes/99_seat_plan_06.pdf[/url]”>http://www.actorsequity.org/docs/codes/99_seat_plan_06.pdf</a></p>
<p>Wow, fascinating. I had no idea there were such great options for seeing interesting theatre in LA. </p>
<p>If one were visiting there, would it be easy to find out what the current or upcoming productions at the waiver houses are?</p>