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Stella Adler Los Angeles is a world renowned acting school located in the heart of Hollywood,
California. Adler-LA offers extensive training for the serious actor in theatre, film, and television (on
camera). The Stella Adler Technique grew out of Miss Adlers personal work with Konstantin
Stanislavski, the father of modern acting.

After a long and successful career in films and on Broadway, including ten years with the famous
"Group Theatre," Adler opened her New York school in 1949. She taught acting technique based on
her personal work with Constantine Stanislavski a technique that nurtures the imagination of the
actor.

After teaching for many years in Los Angeles at various venues, Stella Adler, along with Joanne Linville
and Irene Gilbert, founded the Stella Adler- Los Angeles in 1985.

In 1993, the Stella Adler Academy of Acting and Theatre- Los Angeles moved to our current location,
with 20,000 sq ft of space, at 6773 Hollywood Boulevard, 2nd floor. The current location features
three working theatres, seven studios spaces, dressing rooms, two student lounges, library, a costume
room and a prop room.

HUNDREDS of actors audition.

ONE will get the part.
Why leave your career and talent to chance?
Why should you choose the Adler?
Youre an actor who:
Wants to make interesting choices that set you apart from
the crowd.
Wants a technique that has worked for years and will work
for you.
Wants confidence before and after you book the part.
Wants a supportive, creative environment.
Wants to know how to break down a script.
Wants to be able to prepare for auditions.
Wants to join the list of the worlds most notable actors,
directors, and writers including Marlon Brando, Robert
DeNiro, Salma Hayek, Benicio Del Toro, Holland Taylor,
Gary Ross, Eric Stoltz, Mark Ruffalo, just to name a few.

Table of Contents.
Page 2 Admission Requirements
Page 3 Two Year Program Breakdown
Page 4-7 Course Descriptions
Page 8-10 Faculty
Page 11-12 Policies
Page 13 International information
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Stella Adler-Los Angeles welcomes actors from around the world to grow and
foster their talent within our walls. Students need not have any performance
background or previous training to apply. Although we have many working actors
in our program, we welcome beginners or the curious. All applicants will receive a
tour of the facility and may audit a class.

Stella Adler believed that if you have the passion you

should be given the opportunity to learn an acting
technique.
Acceptance:
U.S. students may take individual classes or enroll in the two year
In order to be accepted,
program. All classes count towards the two year program.
you must submit an
International Students must attend full-time courses due to M-1 visa application on-line.
requirements. For more info please visit: Acceptance is based on an
http://studyinthestates.dhs.gov interview and application.
Short courses of study are available if you are unable to spend two
years with us. Please contact for details.
There is no audition
required for the first year
of study.

If the prospective student

wishes to enroll in an
advanced class, an audition
is required.

Classes are filled on a first

come first serve basis.
Class sizes range from 5-14
students (lecture classes
may have a larger class
size).

Please note International

Students have additional
application materials (pg
13.)
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Students participating in the two-year program spend an intensive 24 months immersed in the world
of their imagination.

First Term Hours per week PRICE

FULL TIME STUDENT RECEIVE A $200 DISCOUNT PER END OF YEAR ONE-
TERM (as reflected in totals) Second Year Evaluation (Monologue required to pass to
nd
2 year)
Technique Level I 9 hrs $950 First Term
Voice I 4.5 hrs $750 Scene Study 6 hrs $850
Movement I 4.5 hrs $750 Shakespeare II 6 hrs $750
Improvisation I 4.5 hrs $750 Comprehensive Technique 6 hrs $875
$3000 Musical Voice 4.5 hrs $750
Second Term $3025
Technique Level II 9 hrs $950
Voice II 4.5 hrs $750 Second Term
Alexander Technique 4.5 hrs $750 On camera 4.5 hrs $750
Script Analysis 4.5 hrs $750 Character 4 hrs $750
$3000 Masks 4.5 hrs $750
Third Term Scene Study Advanced 6 hrs $850
Technique Level III 4 hrs $750 $3000
Voice III 4.5 hrs $750
Movement II 4.5 hrs $750 Third Term
Theatre History 4.5 hrs $750 On Camera craft 4.5 hrs
$2800 Play Production II 12hrs
Fourth Term Group Warm-up 4hrs
Script Breakdown Application 6 hrs $850 $3025
Speech I 4.5 hrs $750
Rehearsal Technique 4.5 hrs $750 Fourth Term
Movement III 4.5 hrs $750 Styles 6 hrs $850
$2900 Scene Study Advanced 6 hrs $850
Fifth Term Alexander Tech II 4.5 $750
Scene Study 6 hrs $850 Chekhov 6 hrs $850
Speech II 4.5 hrs $750 $3100
Movement IV 4.5 hrs $750
Shakespeare I 4.5 hrs $750 Fifth Term/Sixth Term
$2900 Final Play Production
Sixth Term -Dialect Coaching
Comprehensive Technique 6 hrs Final play production 12 hrs
First year play production 12 hrs Group Warm-Up 4 hrs
Group Warm-Up 4 hrs Audition Skills (first 8 wks) 3 hrs
$3025 $3200
Private Speech Intensive: $750
(to be taken any time after Speech II) TOTAL: $15,350
TOTAL: $18375
In addition to class, students will perform throughout their program. Students will
be required to learn the technical aspects of performances such as running lights or
stage managing. Students are required to work on one full Play Production III or its
equivalent.

Students are evaluated at the end of every term by the faculty. Pending evaluation,
student may move up-ward in the program.

Semester dates and holidays can be found listed on the website.

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Technique I is the course of study upon which the training of the

modern actor is based. Actors are the "doers" in the collaborative
effort that results in a film or play being seen and heard. Therefore,
Technique II The purpose of Technique II is to create an
all understanding is made "doable" in the learning of the skills for the independent actor responsible for his or her own
actor. Listed below are eight highlights of the craft that actors are creative and professional life. Stella Adler Actors will
taught to practice:
1. Understanding of self through the art form of acting explore the fundamentals and building blocks of their
2. Actor's relationship to words and feelings craft. This involves using their imagination to create
3. Physical and mental relaxation within the circumstances
4. Creative imagination as a major acting tool
interesting characters that serve the writer's intention.
5. Application of the three levels of justification Exercises and scenes will be used to clarify an actor's
6. Non-verbal expression through character behavior process leading to an independent artist.
7. Relationship with partners
8. Mental actions and their four specific types

Technique III explores in depth the essentials of the

Stella Adler Technique. Building a character, living in the
given circumstances of a play, and playing actions and
objectives are among the exercises that are covered.
Translating the technique into a usable process through
monologues and scenes is the central focus of the class.
Pre-requisite for the class is completion of Technique I &
II.

Alexander Technique An acclaimed method for

improving the actor's sense of physical ease and
flexibility. This technique provides a means to change
excessive tension and unconscious mannerisms into an
integrated, poised use of the whole body and voice.
Students will receive hands-on guidance in order to
Audition Skills The purpose of this class is to prepare identify their own habitual movement patterns,
actors for the audition environment by giving a realistic experience openness, and to utilize the technique in
idea of what is required in an audition. This is an on- daily activities and performances.
camera class. Students will work a minimum of twice per
class and see their work in video.
Chekhov An advanced class that offers an in-depth look
at Chekhov's major plays (Seagull, Uncle Vanya, Three
Character In this class, we deeply investigate character Sisters, The Cherry Orchard) with an emphasis on script
and the process of deepening an actor's character work, analysis, determining objectives, and playing actions. The
through a series of exercises and work on actual scripts. mystery of Chekhov's genius is revealed through a layer
The work in this class will be applicable to film and by layer exploration of character relationships and the
theater and will leave the actor with certain techniques given circumstances, and by the peeling away of
that bring the actor closer to his or her character and extraneous, self-oriented acting impulses. The actor's
give him or her a deeper sense of belief in themselves in work becomes pure, simple, and direct.
the circumstance.
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Improvisation Through the use of theatre games,

improvisational exercises, and scene work, the actor
learns to leap past boundaries and move forward into
strong choices in role playing, characterization, and
interrelating. It is a class to explore freedom of
imagination.

Masks An on-your-feet class. Behind the mask you are Movement I students receive a thorough foundation in the
free to create exciting and surprising, larger-than-life Lucid Body Technique for Physical Actor Training. This is an
intensive approach to actor training that emphasizes the
personalities. Because the mask hides the self, students importance of physical awareness. In this technique
are able to delve deep into untapped creative potential. students explore releasing habitual tensions in the body
that restrict their movement. Through the various exercises
Focusing on spontaneous expression, play and actors are given tools to become more available physically,
transformation, this class will engage students in a emotionally and imaginatively in their work. This is a
challenging class that requires a strong commitment on the
series of performance exercises and games that explore part of the student/participant. It is also a valuable class for
the concerts of organic development of character and students of all levels.

physical theater.

Movement II is designed to deepen the work from Movement I

with an eye on making connections between acting technique and
movement. Students work with advanced Lucid Body Technique
exercises designed to push students to take their self-exploration
and physical awareness work far beyond the foundation work
from Movement I. They will also work with sophisticated
techniques to continue to release their physical tensions and
move beyond their habitual movement patterns. Additional
exercises explore how actors physical, emotional and imaginative
'availability' can be used to benefit their acting.

Musical Voice A program designed to help the actor find Movement III focuses on Physical Approaches to Acting. The
class is designed to support the more advanced students who
and explore the use of their voice in a musical theater are in Scene Study classes. Students learn to explore physical
context. "Give me a great actor that can sing a little over a 'choice' in performance work using text in combination with the
movement techniques. Among other things actors learn to stay
great singer that can't act!" - Stephen Sondheim. Students
out of their head while speaking text and experience the value
learning vocal techniques (breathing, phrasing, lyric of staying 'connected' and 'in the body'. Movement I and II are
interpretation and delivery) to strengthen their voice and required for this class as well as Voice I.
build confidence.
Movement IV is an advanced class that focuses on character
development through physical acting techniques. Throughout
On-Camera Craft A continuation of the Adler On-Camera the term students will work on three different character
Technique for the advanced actor covering the technical work projects. Each project will be designed around a different
technique that students can apply to their work in the future.
that is done after the actor arrives on set to shoot and the
Students will continue to deepen their foundation work with the
camera begins rolling. Scenes which are already at Lucid Body Technique.
performance level are taped with specific practice in the
differences in scale, eye line and pacing that occur from
On-Camera Acting A step by step process for the
changes in camera angles. Comfort with continuity, and
advanced actor, covering the preparatory work that is
keeping the performance alive through multiple takes will be
done before the final callback audition and the acting
examined in playback.
breakdown of the full script before the actor arrives on set
to shoot. Only film scripts are used and all work is done on
camera. Adjusting the actor's instrument from Stage to
film is emphasized.
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Play Production I- This class is designed to be the culmination

of the student's first year of work while introducing the principles
of rehearsal and performance. Plays are directed by faculty or
guest directors.

Play Production II-This class is designed to be the culmination

of the student's work while introducing the principles of rehearsal
and performance. Plays are directed by guest directors or faculty.
In order to become eligible to audition for play production,
students must work on a Play Production III or its equivalent in
the technical areas of lights, sound, stage managing & front-of-
house. (equivalent example: working on two Play Production I or
IIs)
Private Speech- In this course, students with strongly
Play Production III- This class is designed to be the
accented or regional speech will work one-on-one with a speech
culmination of the student's work while introducing the
coach to correct sound differences and gain a deeper principles of rehearsal and performance. Plays are directed
understanding of General American rhythms, placement and by guest directors or faculty. In order to become eligible to
articulation. Required text: Speak with Distinction, by Edith audition for play production and complete Play Production
Skinner I&II.

Rehearsal Technique The skills you need for before, Scene Study Having completed Technique I, II , III and
between, and during rehearsal. How do you apply Script Breakdown, the actor will present scenes , receive
everything you've learned so far and "show up" with it? analysis and criticism that will provide insight into the
This is the answer. Don't "show up" waiting to be told playwright and his meaning. The actor also acquires a
what to do -"save yourself". new heightened understanding, which will lead to an
interpretation of the playwright in light of the actor's own
talent and creativity.
Scene Study Advanced A progression and
advancement of the work established in Scene Study
I, delving more deeply into the discussion of text and Script Analysis This class teaches the process of breaking
character. scenes into playable beats and actions, character analysis,
specific playwriting styles and periods, by presenting
various scenes from classic to contemporary texts.
Shakespeare I An introduction and step by step approach to
the English language's greatest playwright. Through monologue
work, students become knowledgeable and practiced with the
fundamentals of Iambic Pentameter (blank verse). Students
learn to understand the principles and structures of Rhetoric and
how to identify Operative Words and how to personalize
imagery. Language springs from a deep experience, and the
expression of complex thoughts becomes easy and familiar. By
course's end, students have two monologues which will serve
them in auditioning for professional companies.

Shakespeare II A continuation of the work from

Shakespeare I, students produce scenes from
Shakespeare's plays for presentation. There is further
emphasis on script analysis and deep character
development based on the embedded clues provided by
Shakespeare.
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Speech I In this course, students are introduced to the sounds Speech II Building on the awareness gained in Speech One,
inherent in General American Speech and learn to identify the students learn to use words and sounds more effectively to
sounds they are making in comparison with this standard. create a deeper emotional/personal connection to the text.
Sounds are taught using the International Phonetic Alphabet, a Students also continue to work on speech habits as they relate to
notation system which allows students to visualize sounds and General American Speech and elements of Good Classical Speech
apply the correct sounds to their text work. Students leave with are introduced. Students leave with the ability to speak classical
an awareness of their own speech patterns and tools with which and modern texts with physical and emotional clarity. Required
to make changes. Required text: "Speak With Distinction," by text: "Speak With Distinction," by Edith Skinner. Pre-requisite:
Edith Skinner. Speech One

Styles is a performance class designed to prepare students for

production and to give students an opportunity to explore the
wonderful plays of George Bernard Shaw, Oscar Wilde, Noel
Coward and Moliere. By working on a stylized play, students
learn about the physical, vocal and verbal demands of the stage.
Each term, a play is selected for the group. This way students
have an opportunity to explore performing the arc of a
character. At the end of the term, there are three performances
in one of the larger theatres.

Theatre History Modern Russian Theater A history of modern

Russian theater and its founders Konstantin Stanislavski, Evgeny
Vakhtangov and Michael Chekhov and their connection to the
Stella Adler Technique and Development; plus, the little-known
aspects of the latest Stanislavski System (Method), and
introduction to Imaginative Realism Concept. Taught by three
instructors: Dmitri Boudrine, June Barfield, Jade Gordon

Voice I This class trains the actor to free the natural speaking
voice by learning and exploring the classic progression of the
Linklater voice work. The actor will learn a series of physical and
vocal exercises that will free the voice from tensions and negative
habits while developing, strengthening and expanding vocal
range, power, resonance and clarity. The actor will explore a piece
of modern text in this class.

Voice III This is an advanced voice class for actors

Voice II This class continues the Linklater voice progression who have finished Voice I and II. The actor will
with a strong focus on development of the speaking range, continue to reinforce the voice progression they
articulation, and emotional-vocal connections for the actor. They have learned, and will have more opportunity to
develop the tools of pitch, rate and volume to structure the practically apply their voice technique in
work, and learn to allow their voice to respond to their
imagination and interpretation of the material. The actor will
monologue and scene work every week. The actor
explore a piece of classical text in this class. will explore both modern and classical texts in this
class.
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The Adler- Los Angeles hosts a world class faculty. All Technique, Scene and Script teachers
studied directly with Stella Adler. They continue to pass down Stellas teaching to new generation of actors, writers, and
directors. In addition we have many expert teachers in all courses of study from Voice to Movement to Theatre History.
TECHNIQUE and SCENE TEACHERS:
Milton Justice. Academy Award winner Milton Justice began his theatre career
on Broadway, producing the world premiere of Tennessee Williams' Vieux Carre.
Off Broadway he produced Jack Heifner's Vanities, which became the longest
running play in off-Broadway history and co-starred Kathy Bates. His Off Broadway
credits also include Das Luscitania Songspiel written by and starring Sigourney
Weaver and Christopher Durang - selected as one of the 10 best plays of the year
by the New York Times. Milton began as a student of Stella Adler in the late
seventies. In 1988, she selected him to teach at her Los Angeles Conservatory as Joanne Linville. worked and studied closely with Stella Adler in
well as appointing him the Artistic Director of the Stella Adler Theatre Company.
both New York and Los Angeles. She began her television career in
His other teaching assignments have included four years as a lecturer at Yale, five
the 1950's, playing in anthology series such as Studio One, Kraft
years at New York University and for a year he as the Dean of the Institute of
Television Theatre, Alfred Hitchcock Presents and The Twilight
Creative Arts in Seoul, Korea. For his work in film and television he has received an
Zone. Ms. Linville has appeared in many television series including:
Academy Award, an Emmy Award and five Golden Globe nominations. His theatre
Bonanza, Gunsmoke, Hawaii Five-O, Kojak, Charlie's Angels,
work has earned him eight Los Angeles Theatre Critics Awards, two GLAAD
Dynasty, and L.A. Law to name a few. She is best remembered as
nominations and two New York Drama Desk nominations.'
the female Romulan captain from Star Trek: The Original Series.
Tim McNeil. has appeared in over 30 Ms. Linville has taught in both New York and Los Angeles. Her class,
films and television shows. His film Comprehensive Technique: The Power of Language, is a unique and
credits include Forrest Gump, Contact, beautiful approach to the work that stands on the shoulders of
Speedway, Jundy, Starship Troopers, Stella's Technique.
Small Souled Men, Poodle Springs,
Wicked, and Spark, among others. Laura Leyva. Laura is proud member of AEA, SAG, AFTRA and of the theatrical community,
Television credits include Joan of with a performing career that spans over fifty years. Her credits include work on Broadway, Off-
Arcadia, LAX, ER, House, M.D., Broadway, in regional theatre, on film, television, radio, voice-over work, print work and in
Angel, Las Vegas, Seinfeld, Fresh commercials; serving as head juror for the UMKC Film Festival in Kansas City, MO, 1990-1995, as
managing producer for the Actors Platform at the Los Feliz Playhouse 1992-1997, and as
Prince, Martial Law, Star Trek Voyager
producer for the NYU Tisch / Adler Summer Session, 2007-2008.
and others. Mr. McNeil has performed in
Laura studied with Stella Adler and Ron Burrus at the Stella Adler Conservatory in NYC, 1977-
over 40 plays, including Waiting for 1979. In 1979 she became the private student and protg of Mr. Burrus and began the work of
Godot, You're a Good Man Charlie Brown, deepening the training of the Actor for the 21st century, which continues to the present.
Hamlet, Three Sisters, The Seagull, Crane Her teaching career began in 1981 at Michael Moriartys Potters Field Shakespeare School in NYC
Ms. Margaret, The Straight Bozo, Blue and coaching privately. In Los Angeles, she has taught at the Los Feliz Playhouse from 1990-2006.
Streak, Misalliance, A Private View,
Christopher Thornton. is an actor, writer, and Alumnus of Stella Adler - Los Angeles.
Glengarry Glen Ross, Lambies, Virgin
Theatre performances include; Off-Broadway's Pyretown by John Belluso, The World
Vampires from Venus, The Marriage of Premiere of Pyretown at the Geva Theatre in Rochester, NY, The World Premiere of The
Bette and Boo, Me and My Friend, and Body of Bourne at the Mark Taper Forum in Los Angeles, Lion or This Corpse Will Not Stop
Good to name a few. In addition, he has Burning at the Lillian Theatre in LA, Up the Hill, Me and My Friend, I'm a Professional, The
written and produced over 12 plays, World Premiere of Small Days by Timothy McNeil, Vaclav Havel's Private View, London
including Crane MS., Margaret, Calling, Misalliance, Waiting for Godot (Drama Logue Award), Three Sisters, C.P. Taylor's
Supernova, Lambies, The Straight Bozo, Good, A Midsummer Night's Dream, Romeo and Juliet, American Buffalo, Zastrozzi,
Sheperd's Play, The Skin of Our Teeth, and The Poor Itch at The Public Theatre in New
Small Days, Blue Streak and Freddie's
York. Television credits include NBC's My Name is Earl, Fox's Unhitched, Larry David's
Dead among others. Mr. McNeil has also Curb Your Enthusiasm, Homefront, Players, and Just One of the Girls. He has had
directed many plays including the award recurring roles on Family Law, Lifetime's Any Day Now, and ABC's Alias. He filmed
winning The Marriage of Bette and Boo, pilots for ABC, FOX, and Comedy Central. Films include Universal Pictures' State of Play,
Beach Play, and Volatilizing the Esthers. Pretty Persuasion, Bug, and Welcome to California. Christopher recently finished work on
He has been a member of the Stella Adler his original screenplay Sympathy for Delicious, (directed by Mark Ruffalo, starring
Orlando Bloom, Juliette Lewis, Laura Linney, and Mark Ruffalo), which is an official
Faculty since 1999, teaching Technique,
selection in the 2010 Sundance Film Festival.
Scene Study and Character.
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Page 1
Bruce Katzman (Shakespeare, Chekhov) was a student of Page 1
Stella Adler for five years and attended the Yale School of
Drama, where he earned his MFA in Acting. He has taught
workshops on the plays of Anton Chekhov in Oxford, England,
in Denmark, and in Buenos Aries, Argentina. He has taught in Heidi Scheller (Voice) is a
NYC at the Circle Rep Theatre School, Stella Adler and the Designated Linklater Voice Teacher
Actors Center, where he was a member of the founding who was trained and certified by
faculty. He has been a visiting professor at the Yale School of Master Teacher, Kristin Linklater,
Drama, Princeton, Williams College and the University of author of the acclaimed book
Scranton. Directing credits include Uncle Vanya and King Lear Freeing The Natural Voice. She has
at the MET Theatre in Los Angeles. As an actor, he has taught at New York University, New
appeared in New York with the Roundabout Theatre, Actors Workshop, California Institute
Manhattan Theatre Club, NY Shakespeare Festival and Tony of the Arts, The Gene Frankel
Randall's National Actors Theatre. TV credits include Theatre, Circle in the Square,
Desperate Housewives, Without a Trace, The O.C., Law and Shakespeare & Co., The Hamptons
Order, NYPD Blue, Judging Amy, Strong Medicine and Late Shakespeare Festival, and Kids
Night with David Letterman, as well as all the daytime dramas. Onstage. Heidi was a founding
member and educations l associate
of The Hamptons Shakespeare
Celio da Silveira (Alexander Technique) Certified at The Alexander Festival where she has performed in
Jade Gordon (Mask, Theatre History) Training Institute of Los Angeles; Attended Nuno Lisboa University, mainstage productions, as well as
is a founding member of the Los Brazil; Angel Vianna University, Brazil. Celio da Silveira is an AmSAT- created and taught their summer
Angeles based art collective, My certified Alexander Technique Teacher with a private practice in education program, Camp
West LA, teaching individuals, groups, and workshops. He teaches Shakespeare. She was also a
Barbarian. With the group, she has
annual interim Workshops at Cal-Arts Department of Music, member of Shakespeare & Company
performed and exhibited worldwide. substitute teaches for Alexander Training Institute of Los Angeles, where she trained, acted and taught
Holding an M.A. in Applied Theater and has been an assistant instructor at USC. He has extensive voice and text. Heidi has performed
Arts from the University of Southern training in judo and dance, plays guitar and is an accomplished throughout the U.S. including
California, Jade teaches Theater singer. touring nationally in two historically
History, Mask Performance based one-woman plays about Anne
Techniques, and facilitates the Frank and the Holocaust, and
Community Outreach Program at Immigration at the turn-of-the-
century, with the Seattle based
Stella Adler. In addition, she is an
theatre company, Living Voices. She
adjunct faculty member in the
has directed and/or produced
School of Theater at CalArts, has led theatrical productions and readings
Theater of the Oppressed workshops Kennedy Brown (Movement) has been teaching Movement for Actors for over of Kimberly Akimbo, Win/Lose/Draw,
for senior citizens and students in ten years in major acting programs in New York and Los Angeles. The primary The Herbal Bed, A Christmas Carol,
Los Angeles and for artists technique that Kennedy teaches is the Lucid Body technique. Kennedy has a 20 and Beautiful Bodies. Currently, she
internationally, and has studied at year association with Fay Simpson, the creator of the Lucid Body technique. is a member of the Vox Humana
During that time he has been a collaborator in Ms. Simpson's company, the
Theatre Company in Los Angeles.
the Center for the Theater of the
She is a graduate of the University of
Oppressed in Rio de Janiero, Brazil. Impact Theatre, as well as an assistant in her classes and workshops. Kennedy's
Pennsylvania and Circle in the
Some of her professional acting movement program is also influenced by the Skinner Release technique, LeCoq
Square Theatre School in NYC.
credits include TVs That 70s Show technique and Laban-Bartenief Movement Fundamentals.
and films, Grace of My Heart, Things Kennedy is also a founding member of the Gravity Project, a movement theatre
company. Most recently he performed in a solo piece called 'Red Bush Blossoms'
Behind Sun, and Sugar Town for
based on the poem 'Transcription for Organ Music', by Alan Ginsberg. Kennedy
which she was nominated for an IFC
also has a background in Classical Acting having been a core company member of
Independent Spirit Award for best
the highly regarded Jean Cocteau Repertory Theatre in New York City.
debut performance in 1999.
Aside from being a 'Journeyman' of the Lucid Body Technique, Kennedy is a
certified Yoga Instructor, having received the Level I certification from the
Jivamukti Yoga Center in New York. Kennedy is also a certified Associate of
Fitzmaurice Voicework.

May Quigley Goodman (Rehearsal Technique) is an actress, director, producer, and teacher. Her many stage credits include:
Woman in Mind with Helen Mirren, originating the role of Heloise in Timothy McNeil's Crane, Ms., Self Torture and Strenuous
Exercise (N.Y.), Female Transport (N.Y.), the National Tour of Vanities, and the role of Pamela in Heartbreak which she also
originated. She has also had the pleasure of touring Ireland in the Gingerbread Lady. Amongst her many television appearances
are: Cheers, Golden Girls, Fatal Exposure and My So Called Life. Her film roles have been in such diverse movies as Postcards from
the Edge, Regarding Henry, Galaxies Are Colliding and Craig Shoemakers's The Lovemaster to name a few. She produced the movie
of the week Murder C.O.D. and is proud to share a "story by" credit on the film Picture Perfect starring Jennifer Aniston. Her
directing credits include Moving, Brilliant Traces, Win Lose Draw, Crimes of the Heart and Boy & Girl at the Adler.
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Robert Sprayberry (Musical Voice) is a post-graduate in music composition and

conducting from The Guildhall School of Music & Drama in London, England. He
has worked in Theater, modern dance, Film and TV for years. While studying
overseas he spent time in Paris, France where he studied composition with the
renowned Nadia Boulanger. Robert has written original scores for over 50
theatrical productions worldwide. In musical theater Robert was the musical
director/conductor of the West Coast premier of the Tony Award winning
Claudia Vazquez (Speech) has taught workshops and
RENT with Neil Patrick Harris. After that tour Robert joined the National Tour
private lessons in voice and speech in Los Angeles and
of Elton John's AIDA; then the Gazelle National Tour of THE LION KING
the Twin Cities, as well as worked in production as
followed by the stage adaptation of HIGH SCHOOL MUSICAL for Disney
dialect and speech coach. Claudia apprenticed under
Theatrical. Coming full circle he was most recently the associate touring
Tyne Turner at the Utah Shakespearean Festival, and
Conductor for the National and International tour of RENT - "The Broadway
received her classical training at the Guthrie Theater
Tour" featuring many of the original cast members including Adam Pascal,
Actor Training Program in Minneapolis, studying with
Anthony Rapp and Gwen Stewart.
voice instructors such as Elisa Carlson, Bonnie Raphael,
Ursula Meyer, and Lucinda Holshue. She studied Pat Dade (Improvisation) Originally from Washington D.C., Ms. Dade
Linguistics at the Fundacin Ortega y Gasset in Toledo came to Los Angeles in 1996 and began teaching at Stella Adler-Los
Spain and in London with Thomas Pratke (Le Cog/LISPA), Angeles in 1998. She has appeared in numerous television series
Patsy Rodenberg, Andre Wade, and Patrick Tucker. A including Lifetime's Strong Medicine and NBC's Homicide in a
performer since the age of 4, she has been in over 100 recurring role as attorney Monica Murphy. Film work includes the
live productions and works in both Spanish and English Michael Jackson''s horror short, Ghosts, and SWAT. She has performed
on stage and screen. In 2006 she was awarded the for 15 years with the national improv troupe Comedy Sportz and is a
Jerome Foundation's Many Voices Fellowship at The former member of the Groundlings Sunday Company. Ms. Dade is also a
Playwright's Center. She is currently a member of the professional writer and recipient of a 2001 Telly Award for her
Independent Shakespeare Co. screenplay, The Cross.

Timothy Craig (On-Camera Craft) studied acting and script analysis personally with Stella
Adler through the NYU Undergraduate Drama Program in New York City for three years and
headed her conservatory voice and speech program for an additional six. It was also during
this time that he studied acting and directing for two years with Evgeny Lanskoy, a master
teacher and recent migr from the Soviet Union, and learned the revolutionary, model-
based updating of the Stanislavski System of Acting. Mr. Craig left New York City to attend
USC's Graduate School of Cinema in Los Angeles and formed Cairn Productions, a successful
partnership for producing and directing independent films, videos, commercials, industrials,
and music videos. Most recently, he directed, shot and edited Take 22, a program of 22
video scenes for students of Edgemar Center for the Arts in Santa Monica. A published and
produced playwright and screenwriter, his play, Oregon Dawn, was a finalist for the Oregon
Book Award for Drama. His most recent play, Count, was presented at the National Math
Conference in Portland, Oregon.
June Barfield (Theatre History) is a Los Angeles-based writer who began
her career as an actor in New York. Her acting credits include The Dybuk
Dmitri Boudrine (Theatre History) has more than at LaMama, The Trojan Women (Andromache) and Under Milkwood at
17 years of acting experience for Film & Television the George St. Playhouse in New Jersey; and Two for the Seesaw and
in North America. Dmitri studied film and TV acting Othello (Desdemona). Her writing credits include: A Woman of My Age,
and Too Close to Home. She wrote the English adaptation (Together
and directing for five years at the Vakhtangov
Again) of the telenovela El Derecho de Nacer for Televisa, S.A., and she
Theater School (Moscow, Russia), and went on to was an associate writer for General Hospital and One Life to Live. June
become an official representative of the school. He holds degrees in Theatre from Los Angeles City College and from Rutgers
has performed on the stages of the world famous University. She studied Advanced Scene Study with Uta Hagen, Modern
Moscow Art Theater and the Vakhtangov Theater. Dance with Martha Graham, and she was on scholarship under John
Dmitri's extensive list of North American credits Houseman at the Stratford, Connecticut American Shakespeare Festival
include Cast Away, Perfect Sleep, Runaway Virus, and Academy where she studied with Morris Carnovsky and Phoebe
Brand, original members of The Group Theatre.
Pandora's Clock, Exiles In Paradise, Little Odessa,
Lost, NYPD Blue, Without A Trace, Will &
Grace, Monk, Alias, Robbery Homicide Division,
X-Files, Mad About You, and Millennium. He also
produced more than 75 TV projects for Administration:
international broadcast. He has conducted Executive Director: John Jack Rodgers
numerous acting workshops in Canada, the US, and Administrative Director: Wendy Overend
Europe. Director of Student Affairs: Alex Aves
 Page 11

All classes are held at 6773 Hollywood Blvd, 2nd Fl, Hollywood, CA 90028
Monday-Friday 9am through 6pm
Contact: phone: 323.465.4446 fax: 323.469.6049 web: stellaadler-la.com email:[email protected]
Stella Adler-Los Angeles is licensed by the Council for Post-Secondary Education

The Nitty-Gritty.
Applicants must have a high school diploma or its equivalency and be at least 18 years of age. Students must provide diploma or proof
equivalent upon application. You are required to supply a copy of your diploma upon registration.

Proficiency in English is required. The Adler does not provide English Language services.

Students are allowed two excused absences per term (three latenesss =one absence). If excessive absences occurs in a term students may be
asked to retake the class in the next available term.

Probation and dismissal For 3 or more missed classes you will be put on probation for the next term of study.
Excessive absences, tardiness, drug or alcohol abuse or sexual harassment is grounds for immediate dismissal. Class cuts are not allowed.

American full time students may take a leave of absence, they must inform the office both before they leave and when they wish to return.

Students are evaluated at the end of every term by the faculty, pending evaluation, student may move up-ward in the program.

Re-application procedures: Any student who previously applied and elected not to register or was denied admission, and/or any student who
withdrew or was dismissed must re-apply as per normal admission requirements

Stella Adler does not provide Housing Services but is happy to help incoming students meet each other (and point you in the right direction),
as moving to a new city or country can be daunting. If you need details on housing or would like to be included on the roommate list, please
contact us.

Any complaint or issue a student has may be submitted in writing or the student may arrange a meeting with the office or executive director.
Because casting is such a subjective process it is impossible Stella Adler guarantee employment. However, the Adler does offer services to
help students cope with the industry. These include: knowledgeable staff and faculty who provide info about managers/agents/auditions,
audition notices, manager/agent workshops, and free info sessions.

U.S. Students
Tuition: There is a onetime $100 non-refundable registration fee for all students. U.S. students may enroll in the two-year
program or take individual classes. The cost of the two-year program is $33725. There are six terms per year for a total of twelve
terms. Each term's tuition is due no later than one week before the first day of classes. If you are interested in taking individual
classes, please see our website for individual class costs.

Split-Payment Plan: A split-payment plan may be arranged for eligible students. There is a $45 fee for the split-payment plan.
The student agrees to pay one-third of the total balance no later than one week before the first day of classes. The second
payment is due three weeks after the first day of classes. The final payment is due three weeks after the date of the second
payment. A $5 late fee will be assessed for each class taught after the payment due date, if payment has not been paid
according to the split payment plan.

Please note: Continuing part-time students registering will be required to pay a $60 deposit to hold their spots in class. The
deposit comes off the total amount due for classes. The balance will be due one week before the first day of classes. The deposit
is non-refundable.

Tuition must be paid either by bank wire, cash, personal check, credit card, cashier's check, or money order made payable to
Stella Adler. These are the only acceptable forms of payment. Stella Adler-Los Angeles is not eligible for FASFA at this time.
 Page 12

STUDENT'S RIGHT TO CANCEL: Students has the right to cancel the enrollment agreement and obtain a refund of charges paid through
attendance at the first class session or seven day after enrollment whichever is later. A full refund will be issued (less the
application/registration fee), by submitting a written notice no later than the first day of instruction to Wendy Overend, Administrator,
Stella Adler-Los Angeles, 6773 Hollywood Blvd., 2nd Floor, Hollywood, CA 90028, or by hand delivery. All refunds will be paid within 30
days after notice of cancellation/withdrawal has been received. Please note: The application fee is non-refundable.

WITHDRAWAL: Once classes have begun, students have the right to withdraw from a course or program. If after the first class, a
student will receive a pro-rated refund for the unused portion of the tuition less the $25 per class drop fee if the student has
completed 60% or less of instruction. If the school cancels or discontinues a course or educational program, the school will issue a full
refund. Withdrawal notices should be made in writing by the student. All refunds will be paid within 30 days after notice of
cancellation has been received.

The Student Tuition Recovery Fund (STRF) was established by the legislature to protect any California resident who attends a private-
post secondary institution from losing money, if there was prepaid tuition and financial loss, as a result of school closure, failure to live
up to its enrollment agreement, or refusal to pay a court judgment.
NOTICE CONCERNING TRANSFERABILITY OF CREDITS AND
CREDENTIALS EARNED AT OUR INSTITUTION

The transferability of credits you earn at Stella Adler- Los Angeles is

at the complete discretion of an institution to which you may seek to
transfer. Acceptance of the certificate you earn in acting is also at the
complete discretion of the institution to which you may seek to
transfer. If the certificate that you earn at this institution is not
accepted at the institution to which you seek to transfer, you may be
required to repeat some or all of your coursework at that institution.
For this reason you should make certain that your attendance at this
institution will meet your educational goals. This may include
contacting an institution to which you may seek to transfer after
attending Stella Adler-Los Angeles to determine if your certificate will
transfer.
Stella Adler has not entered into an articulation or transfer
agreement with any other college or university.
Student records will be held for 5 years.

Any questions a student may have regarding this catalog

that have not been satisfactorily answered by the institution
may be directed to the Bureau for Private Postsecondary
Education at Private Postsecondary and Vocational Education
Information, P.O. Box 980818, West Sacramento, CA 95798-0818,
website: www.bppe.ca.gov

As a prospective student, you are encouraged to review this

catalog prior to signing an enrollment agreement. You are
also encouraged to review the School Performance Fact
Sheet, which must be provided to you prior to signing an
enrollment agreement.

A student or any member of the public may file a complaint

about this institution with the Bureau for Private
Postsecondary Education by calling (888) 370-7589 or by
completing a complaint form, which can be obtained on the
bureau's Internet website www.bppve.ca.gov.
 Page 13

INTERNATIONAL
International Application Checklist
STUDENTS
Since you are from another country you will need to obtain an
M-1 Student Visa. Please submit the following: As an International Student, you will receive
an M-1 visa valid for one year. Your visa will
1. A copy of your passport (this must be clear and legible). be extended for the second year upon
passing an audition. Extension will require an
additional fee of $290 (Paid to the
2. A bank statement with proof of $30,200, from whoever will
Department of Homeland Security)
be supporting you while you are in the states. This includes
tuition ($18375) and the government minimum required for M-1 Students are required to be enrolled Full
Time.
living expenses ($11800) for one year.
Students must be enrolled full time for 12
3. A $160 application fee (this also covers the fed-ex required to consecutive terms in order to maintain their
send you any important immigration documents). M-1 status. You may not take a term off,
unless it is for medical leave.
4. Copy of high school diploma or equivalent
All embassy and SEVIS fees are the
Please submit with a completed on-line application responsibility of the individual student.

All international students without their own

Please inform the Stella Adler International Student Advisor at bank account shall be represented by a
the time of application if you wish to study for less than one financial guarantor. Said guarantor is
year. responsible for all monies and will be notified
should any problems arise, including but not
Applications may be submitted by mail or by email- [email protected] limited to monies, behavior, withdrawal,
Need financial help? Check out www.student-grants.eu for study dismissal, and visa status.
abroad grants! At the end of your program you can apply for
Optional Practical Training (OPT) for up to six
Once accepted to our program, we will issue you an I-20 form which months. Once approved you are able to work
you take to the American Embassy in your country to apply for your in the US. Our office will help you with the
Student Visa. application. There will be additional fees
($670) paid to the government for
processing.

The cost of the two-year program is $33,175. The first years tuition of $18375 is due in full no later than one week
before the first day of classes (upon approval, students may pay tuition in two installments of $9187.50 each). The first
payment for the second year's tuition of $15,350 will be due no later than 45 days before the end of the students first
year. Upon receipt of payment, Stella Adler-Los Angeles will assist the student in filing the visa extension for their
second year.

Tuition will be paid either by bank wire, cash, credit card, cashiers check, or money order made payable to Stella Adler.
These are the only acceptable forms of payment. Tuition costs include all visa processing fees incurred by Stella Adler-
Los Angeles. Students will be responsible for additional fees owed directly to the Department of Homeland Security.
Stella Adler Los Angeles
Please note: International students may not work while in the United States.