Acting with Matthew G.

Matt G. has been training and performing on the stage for over ten years. A member of Actors Equity Association, Matt has spent the last several years as a company member at PlayMakers Repertory Company (LORT D) in Chapel Hill, NC. Casting has included: Ken in "RED," Karl Lindner in "A Raisin in the Sun," Steve and Karl in "Clybourne Park," Leo in "In the Next Room," and the Dauphin in "Henry V." Matt had the great honor of working with renowned directors such as Vivienne Benesch, Raelle Myrick-Hodges, Tracy Young, Mike Donahue and Joseph Haj - as well as veteran actors Michael Urie (Ugly Betty; Partners), Michael Winters (Gilmore Girls), and Stephen Caffrey (Tour of Duty; Longtime Companion). While performing on the PlayMakers stage, Matt spent three years pursuing his Master of Fine Arts in the Professional Actor Training Program at the University of North Carolina at Chapel Hill. His training and proficiency includes Stage Combat, Lacoq Mask, Shakespeare, Chekov, the International Phonetic Alphabet, Dialects, Linklater Voice, the Miller Voice Method, and Acting for Film. As a graduate student, Matt was hired as an undergraduate instructor in the Department of Dramatic Art, where he served for two years prior to completing his degree. Prior to UNC, Matt lived in New York City, training at the Atlantic Theater Company's Acting School and performing at The New York International Fringe Festival and with Gorilla Repertory Theatre. *** Lesson Details *** As a teacher I strive to strike a balance between intellectual analysis of the text and the impulsivity of the actor. Don’t get me wrong—academic ability should not be discounted. Understanding new acting methods, scene analysis, and table work all require critical thinking. However, once the work is on its feet, it does not serve the actor or the text to perform preconceived intellectual ideas. Stella Adler said, “The play is not in the words, it’s in you!” I fiercely want to pursue that balance with my students. So for my coaching sessions and tutorials, I have selected acting texts that speak directly and succinctly such as "The Intent to Live" by Larry Moss. An Adler protégé, Moss provides a practical approach to scene analysis, which I believe allows the new actor to move from concept to application more quickly. I mean, if the book doesn’t make you want to get on your feet and work, then find one that does. With my students I have worked to integrate movement and vocal training, which are proving themselves to be more and more inseparable. I direct vigorous physical and vocal warmups that release tension, ground the voice and body, and awaken impulses. My experience in this area is a hybrid of Linklater, Chuck Jones, and the Miller Voice Method (Scott Miller, NYU Graduate Voice instructor). I also lead discussions on muscular anatomy to help actors identify their unique areas of tension and stress. Anthony Hopkins said, “You can’t act unless you’re relaxed.” I don’t think he means relaxation to the point of collapse but rather reaching a place of physical readiness. Acting, especially in the theatre, is an athletic event, and we must be up to the task. On the whole I try my very best to establish an atmosphere of collaboration and support. I have the opportunity to learn just as much from my students as they do from me. An acting tutorial is not a classroom lecture but rather a laboratory experiment where artistic failure is welcome. And quite frankly, a good sense of humor is essential. If this collaborative, supportive environment is achieved, actor training devoid of the stranglehold of fear can flourish. This has been the case with my own training, and I plan to carry it forward as an instructor. One-on-one coaching will consist of working with monologues from published plays and screenplays. If an acting partner is available (i.e. if lessons are requested for more than one student at a time), then scene work is ideal. Taping for immediate review and feedback is also available. Audition Preparation for stage or screen auditions is also available. *** Travel Equipment *** I am equipped with video and audio recording equipment as well as a lighting rig. *** Specialties *** My teaching style is a hybrid of many acting methods, because no one method works for everyone. However, my primary acting texts are Stella Adler and Stanislavsky based. My vocal approach is a hybrid of Linklater, Chuck Jones, Alexander, and the Miller Voice Method (Scott Miller, NYU Graduate Voice instructor).