People develop at their own pace and are encouraged to be bold in ideas, courageous in taking chances and tenacious to acquire a seamless, solid and lasting technique. The programs are unique is that they cover a complete and necessary spectrum of distinctions which Mr.Stone considers the most potent in the pursuit of acting as an art form and a career.

Self-expression, self-esteem and self-confidence matter in relationship to acting. They are examined in depth. Issues of personal power and effectiveness are also dealt with extensively during the course. Eric Stone views acting as a physical, experiential and public art form. To exist freely in those realms demands more than a casual interest or even determined wishing. It takes real courage to be an actor and Eric prides himself to deliver the tools and “heart of the matter” insights to give his students over the years the confidence to succeed.

Eric views confidence as the certainty and therefore reliability of or on something. To be confident he says is to be certain. A reliable technique is something you can depend on and therefore “stand on” and, from that platform act committedly and with power.


  1. Casting: Hollywood Actors Studio often gets calls from Casting services, agents, directors, and producers looking for specific talent. For a minimal fee you can put yourself in our casting database. This service works well at this point from actual calls we get from the industry that we then send to your page on our site. You can choose from several packages. Many actors have booked worked through our referral program.
  2. Long-Distance and online training!


The Hollywood Actors Studio System is an organic and innovative approach to teaching the craft of acting. The strength of the approach is that it is entirely tailored and focused on training the individual as opposed to delivering a general “system” to a group. The claim and result of this new method is to succeed in developing strong, independent and free-spirited artists in charge of themselves and their craft.

By aiming straight for the individual rather than the group, it becomes easier to understand the actor’s specific needs, talents and possible problem areas. The coaching is clear and composed of tools & techniques that make sense rather than concepts and theories that remain intellectual. In this system, the theories and concepts are an integral part of the tools, not separate from them. Therefore, theories are practiced and demonstrated directly to the student. This makes acting tangible and real.

This System is rooted in strong artistic principles; principles inspired by many major twentieth century American and foreign acting teachers and directors: Herbert Berghof, Uta Hagen, Stanislavsky, Lee Strasberg, Method Acting, Stella Adler, Alexander Technique, Sandy Meisner, Michael Chekhov…etc…most of whom Eric Stone studied with for many years.


There are three levels of participation and graduation at the Studio. The program is designed as a complete training ground from beginner to full-time professional including young actors. It is an on-going program and you can enter anytime. It takes four to seven years to cover the full length of the program. Most students are encouraged to participate for at least two years to fully profit from the training. Students enter at different levels and there are classes at all levels.

The aim of the course is to build total and complete confidence in the actor’s ability and technique. There are no rules as to how fast a student can develop. It is entirely left up to him or her, depending on his or her willingness to grow and improve. The program does make it possible to learn according to one’s desire and commitment.

The classes and workshops are taught in a fun, supportive, professional and committed environment. The students at all levels are encouraged and trained to take acting on as a self-realization and artistic path for the long run. The coaching is strong, direct and from the heart.

The classes are no substitute for psychology or therapy sessions, and humiliation techniques are never used to get results from students. Instead, the method of delivery is respectful of the individual, graceful yet relaxed and entertaining. The coach does not make empty promises of success and stardom, but rather aims at building the actor’s confidence through acquiring solid skills and a clear understanding and investment in the craft.


LEVEL 1: Students spend most of the time assimilating the fundamentals of relaxation and acquiring the basic language and distinctions of their craft. This level can serve as a refresher course in real basic fundamentals for more experienced actors as well. Please see full detailed program for specific content covered. Represents 2 to 5 years of acting training and experience.

LEVEL 2: Student has acquired the fundamentals of relaxation and is able to access some real feelings on his or her own. At this level the student has assimilated most of the terminology and language of the craft and understands the importance of truthful behavior in his or her work. The student also possesses some clear knowledge of how to break a script down and has good rehearsing habits. Stage 3 becomes the main focus of the work: how to access real feelings while remaining true to the dramatic structure. Character work is encouraged and the actor starts taking real chances and make bolder choices and his/her work becomes more personal. Please see full detailed program for specific content covered. Represents 3 to 7 years of training and experience.

LEVEL 3: Student has made relaxation the most important aspect of his/her technique and is having fun with it. Actor is no longer afraid or unfamiliar with real feelings and experiences in his/her work. The fundamentals are fully integrated. The work is seamless and interesting. The actor has full confidence in his or her ability to act. He or she is now ready and primed to be delivered the tools and techniques to develop solid performing skills. The actor is encouraged to take on the path of the actor as artist on a full-time basis and to make the work personal, bold and unique. Represents 7 to 15 years of training and professional experience combined depending on the individual.

About Actors_Studio_Hollywood

Eric Stone also known as artist Philippe Benichou first studied privately in New York with Herbert Berghof, Uta Hagen, Lee Strasberg, Stella Adler, William Hickey, Tony Allen, Austin Pendleton & Bob Mc Andrew from the Wynn Handman Studio. Eric is well versed in most major acting techniques and ideas of the 20th Century including the Meisner and Russian actor and director Michael Checkhov Techniques. Michael Checkov was famous playwright Anton Checkov's cousin. Eric Stone was made an Honorary member of the famed New York Actors Studio in 1981 and was accepted as a student in Uta Hagen's highly acclaimed scene study class that same year. In addition, Mr. Stone was privileged to work with Judith Unland in New York. Ms. Unland had been a private student of Michael Checkhov. "Michael Checkhov's breakthrough work in freeing the actor has greatly influenced me and still continues to amaze me." Eric Stone Eric Stone first began teaching in 1983 and has contributed to the growth and success of many actors and performers including some well known stars in the US and abroad. As his acting, directorial and coaching skills began to represent a potent body of distinctions, Eric realized it was time to make his discoveries and love of acting more public. He founded the Eric Stone Studio in 1989 in Los Angeles and Santa Barbara and began touring with weekend workshops around the country. An ongoing program was designed via classes, privates, intensive workshops and seminars. His sheer passion for artistic expression and his relentless pursuit of freeing the actor led Eric to establish a permanent actor's studio. A safe, clean, non-gaming, healthy, creative and empowering "arena" for people to hone, discover and challenge their spirits to more desirable heights of experience. This approach is focused entirely on training the individual artist not delivering a general system to a group or mass. It is the strength, success and competitive edge of this training. By aiming straight at the individual, it becomes easier to understand the actor's specific needs, talents and possible problem areas.
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