The only way to reach a professional�level is to learn it the hard way, with a blend of 50% theory and 50% practice. With the right amounts of�enthusiasm, creativity and experience we can aspire to these aims. Theatre workshops help bring out the actor in us all.

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An actor�s job is to take on a certain part in a play. There are many schools, workshops and theatre groups�that help you to bring these theatrical characters to life. But the actor must never forget that he or she is�part of a group and that the character is just one more piece that makes up the whole. To achieve perfection, the actor has to completely dominate his expressive�faculties and be able to synthesise his verbal and gestural expression with the continuity of ideas while relying on external resources such as make up, hairdressing and costume.

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Mastery of one�s voice is undoubtedly the fundamental skill of an actor. The apprentice actor must above all improve his quality and diction through breathing, letting out the maximum amount of air with as little effort as possible. He must also be aware that different tones of voice express different emotional states: a grave tone helps you to express sincerity, affection and compassion, while a sharp tone reveals hysteria, joy and cruelty.

Verbal and expressive interpretation
Verbal interpretation is the basis of a theatre actor�s work. Good diction and correct phrasing is vital to�achieve this. It is important to understand the meaning of the dialogue and read it out so that every word is heard. To correctly express a phrase, using perfect intonation and pausing in the right places is important both for the actor and the audience.

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Expressive interpretation is made up of movement which must complement the spoken word. The audience registers and takes into account every movement. Any unnatural�gesture distracts the spectator�s attention.

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There are several rules of movement to help the actor:
- The shortest way and the simplest movement are the best and most comfortable manner to achieve the desired result.
- When turning around, the actor should look for the shortest angle.
- Every movement must begin with the eyes, followed by the head and finally the body.
- One must not let one�s eyes wonder, nor lower one�s gaze, nor blink.

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A few rehearsal tips
You need to practice a lot to avoid badly prepared plays. Here is some advice for rehearsals:

- The actors� papers must include the entire text of the scene.
- The director should correct the actors if they make a mistake.
- The actors should memorise each act.
- No actor should interrupt the rehearsal if he or any companion make a mistake.
- The actor should prepare his entry on the stage during rehearsals, concentrating on the character�s personality.

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Where to go
If you still fancy learning this ancient craft, it is best to join one of the many schools that teach you in
the ways of the actor. Some of the best are:

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- Actor�s Center: one of contemporary Spanish theatre�s most modern and experimental schools, it has a number of theoretical and practical courses and puts on
diverse shows of its own.

C/ Jazm�n, 41, 12�
28033 Madrid
Tel. 91 766 51 53

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- Escuela del Actor Ensayo 10. This academy is ideal for those who prefer comedy and tragedy.

C/ Montele�n, 15
28004 Madrid
Tel. 91 447 79 05

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- Estudies de Teatre. A prestigious school that has taught many great actors.

C/ Cid, Bajo
08001 Barcelona
Tel. 93 324 82 28

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These are by no means the only theatre schools in Spain, but just a selection out of many hundreds. Also,�most of the cultural sections of the autonomous communities, city councils and district municipalities�of the larger cities often organise theatre workshops starting in September.

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