Actor Training & Workshops (also available for schools)

Empathy is at the heart of the actor’s Art. – Meryl Streep

The journey of becoming an actor is a deeply personal one. To become an artist means to learn what it is to view the world differently, to undo some of the harder lines of conditioning we have accepted all our lives or to embrace a new mode of thinking, believing and being. No one actor is the same as another one, so it is important to realise that each individual path needs to be treated individually and distinctly. Indigo View has helped literally thousands of artists learn what it is to trust themselves, to embrace and work with the elements within them that make them potent and creative and in the process develop an inner knowledge and awareness on who they are in this world that we all share. It isn’t an easy path, but it is one that can be taught and supported with proper guidance and direction.

Whether you are a novice or advanced performer, a high school actor or someone dedicated to making acting a chosen career path, then you will understand the necessity of training. Without it we are stuck in bad habits, limiting our potential and perhaps the greatest tragedy of all, thinking that “this must be it.”

Indigo View teaches and trains actors one on one, privately and in groups. Below are some classes/workshop titles to give you an idea of the nature of the work.

In 2015 Indigo View launched the Advanced Actors Academy for Gauteng actors – from beginners to intermediate and more experienced actors – looking for a training space that would at once challenge them in their pursuit of higher learning as performers and support them as individuals. The Academy addresses the performer at two levels: one, who they are as actors and, two, who they are as individuals and addressing personal challenges or inhibitions that hold the actor back from achieving the personal and creative goals they desire.

In this way Indigo View joins two worlds: that of the Performing Arts and that of Personal Development Coaching, which is precisely what makes this course so unique! Another distinguishing factor is that all of our coaches are industry professionals and practitioners; leaders in their fields in both the television, film and theatre mediums.

The 21-Day course (spread out over 6 months) was created for the intermediate to more experienced performer, all of whom display existing skills and demonstrate abilities that new actors are yet to learn. These actors receive advanced content throughout the course as well as private monthly personal development coaching sessions specifically designed to address personal blocks and obstacles.

There are many people who have had little to no training in the field of Acting but have a deep desire to learn and to grow as actors. Out of this need grew a slightly different but equally impacting 15-Day course (spread out over 5 months) for Beginner actors; the 15-Day course is designed to give new actors solid foundation whilst simultaneously preparing them for the industry and supplying more advanced skills not always afforded to Beginner actors at tertiary level.

Both the 21-Day and 15-Day courses are taught by industry professionals and are extremely hands-on and practical. Our coaches and facilitators have years of experience between them, giving actors not only first-hand, real, practical training but also allowing actors the opportunity of networking and learning from some of the cream of the crop in our industry. Both the 21-Dayand 15-Day actors perform in a Showcase at the end of their training giving actors the opportunity of being seen and, for some of them, giving them the visibility so badly needed when breaking into the industry.

Below are video clips taken from a few of the workshops that include interviews with the Academy actors and some of the facilitators:

On the academy training:

Showcase videos:

Video One:

Video Two:

Video Three:

Video Four:

Video Five:




Acting is not about being someone different. It’s finding
the similarity in what is apparently different, then
finding myself in there. – Meryl Streep




• The mechanics of voice production; the physiology involved.
• Breathing & relaxation techniques and exercises.
• Posture; finding and working in a neutral posture to support a fully supported breath.
• Articulation, diction & enunciation exercises.
• Modulation; phrasing, pausing, inflection, pitch, rhythm, projection, etc.
• Where voice and text meet; processes of rehearsal to final performance.
• The voice in performance; applying the practical components in rehearsal.
• Practical exercises pertaining to all work covered.



• Stella Adler, Uta Hagen, Lee Strasberg, Stanislavski and Sanford Meisner acting techniques and exercises.
• Learning the difference between presenting and being.
• Relating to and personalising with a character.
• The principles of naturalistic acting on the stage.
• Practical application of the style.
• Listening, engaging and responding.
• Endowing a character with life and purpose.
• Identifying and working out bad habits.
• Practical exercises pertaining to all work covered.





• The principles of grappling with Elizabethan text.
• The voice in classical acting.
• The tools and direction that exist in the text.
• Avoiding melodrama and over the top acting / clichéd acting choices.
• Combining Shakespeare’s text with Modern acting; the meeting place between two styles.
• How to speak Shakespeare and verse; interpretation, rhythms, structures and methodologies used.
• Practical exercises pertaining to all work covered.



• Combating fear; working with, rather than against personal fears and issues related to self-esteem.
• What presence is; how without it, there is no performance to speak of.
• What presence is; its importance for the performer and the dangers of its absence.
• Presence and the body; where to place, find and empower oneself whilst engaging physically.
• Presence and the voice; engaging presence to assist in a fully supported but uninhibited spoken voice.
• Working on the first, second and third circles of power; realising when one is withdrawing, bluffing or engaging.
• Listening, words and the senses; utilising these to find personal power.
• Identifying when you’re in presence and when you’re not; techniques utilised to rectify danger areas.
• Applying presence to monologues and scenes; particular focus for practical exam purposes.
• Practical exercises pertaining to all work covered. Book now to reserve and arrange the time needed especially for practical examination preparations.






One On One Training & Coaching
Monologue and Scene Work (Stage & Film)
Identifying & Improving Your Vocal Inaccuracies
The Tools of Acting
Audition Technique
Acting for Teens
Diction, Phonetics and Sight-Reading
Understanding a Writer’s Intention
The Creation of a Character
Genres and Styles of Theatre
Creative Affirmations
Audition Technique
Speaking Shakespeare and the Connection
to Contemporary Thoughts
The Potency of Subtext
South African Theatre
Making Brave Choices
Failing Fabulously
Healing Through Writing
Improvisation: The Art of Controlled Chaos
The Creation of a Character
The Playful Space



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