Course 2025-2026
Acting in front of the camera 1 (FPA)
When acting in the audiovisual medium, whether in film or television, the performer is basically in several conflicts that he has to overcome: initially, it is necessary to find confidence in his own work and image; you need to know how to use all the tools available to recreate a character that is believable and thrills the viewer; it is necessary to adapt its action to an environment that demands truth, intensity and at the same time restraint; it must also be adapted to the requirements of the cinematographic technique; and finally, you need to learn to be part of a team, to understand the roles involved in a shoot, your needs and your times, to be able to manage concentration and availability during a shoot.
In this totally practical course I will become aware of the same image and accept it to get the most out of it; we will learn to manage the respect imposed by the camera; to practice listening, concentration, intensity and restraint; to use interpretive techniques to find truth, simplicity and emotion; we will interpret situations, monologues and scenes and adapt them to the technical needs of the plans, the lighting, the rhythm of the optical and camera movements, as well as the common errors of axis jump or lack of continuity.
Finally, we will learn the operation of a filming team, with their roles and needs and how to manage our concentration and availability to give the maximum performance of our interpretation at all times.
Annual course: from September 29 to June 22
- Mondays from 8h to 11h
- Monday from 11 a.m. to 14 p.m.
- Thursday from 19h to 22h
Teachers: Toni Vives and Tony Corvillo
These groups belong to the FPA and it is mandatory to take the entire film block, incorporating the subject Diction and Articulation 1. You must send your artistic CV and take an admissions interview.
Acting in front of the camera 2 (FPA)
Acting in front of the camera demands from the performer a very high level of intimacy, truth and organicity. It is necessary to apply the necessary technique and incorporate emotion into the actors' work from a confidence and self-knowledge that guarantees organicity and precision in everything the actor does in front of the camera. After a first year where the student has worked on the basic contents from a totally practical side and has learned to become aware of their own image; now we will go deeper and go beyond the concepts started the previous year so that the student continues to grow and train in front of the camera. You have to stop acting to live the experience and you have to stop doing to start feeling.
It is a course where a constant, exhaustive and extensive training proposal is made based on technical work and the work of emotions to incorporate knowledge that will last the student to excellence.
At the same time, there will be proposals for practical work based on film scenes and monologues, castings, self-tapes and auditions.
On the other hand, there will also be theoretical work based on the concepts of language and audiovisual culture and where work will be done: the roles involved in a shoot, concepts of language and audiovisual narrative, reference films and directors, the current state of the industry and, for final year students, the management and promotion strategies of the performer's career.
First semester:
From September 15 to February 6
- Tuesday from 11am to 14pm with Jorge-Yamam Serrano
- Wednesday from 19pm to 22pm with Àlex Mañas
Second semester:
From 9 from February to 22 in June
- Tuesday from 11am to 14pm with Àlex Mañas
- Wednesday from 19pm to 22pm with Jorge-Yamam Serrano
These groups belong to the FPA and it is mandatory to take the entire film block, incorporating the subject Diction and Articulation. You must send your artistic CV and take an admission test.
Cinema (Free School)
In this totally practical course, we will become aware of the image itself and accept it to get the most out of it; we will learn to manage the respect that the camera imposes; to practice listening, concentration, intensity and restraint; to use interpretive techniques to find truth, simplicity and emotion.
We will also interpret situations, monologues and scenes and adapt them to the technical needs of the shots, lighting, the rhythm of optical and camera movements, as well as the very common errors of axis jump or lack of continuity.
From September 29 to June 22
Group 1: Tuesday from 17.30:19.30 p.m. to XNUMX:XNUMX p.m. (annual format)
Group 2: Saturdays from 11am to 13.30pm (October-December)
Teacher: to determine
