Author Archives: Actors_Studio_Hollywood

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.


It’s not enough to say, “I’m in my car with my friends having a good time on the way to a hot party.” Spontaneity in acting does not come from leaving things up to chance but rather from carefully planning and rehearsing a specific circumstance through detailed actions and then by trusting and letting go. The necessary spontaneity will come from having recreated a life-like situation and responding to it. Continue reading

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Being in action is at the heart of the matter in the craft of acting. “The actor is the doer,” my teacher Herbert Berghof used to always say. Good acting is good doing. Doing something physical to oneself, someone or something (objects/ environment) is the only way the actor gains trust, confidence and faith in his/her imaginary portrayal and so, consequently, does the audience. A complete involvement physically, emotionally, psychologically and spiritually is an absolute condition for practicing the art of acting. Continue reading

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Helpful Acting principles by Eric Stone

Actors, unlike many other artists, never deliver a finished product. The work of the actor has to remain spontaneous, free and organic. Actors never carry their rehearsal onto the stage. All that matters on stage or in front of the camera is what goes on “at the moment” in terms of behavior and actions received or sent. This represents one of the most commonly misunderstood concepts in the craft and a source of recurring tension and dissatisfaction among performers. Acting is letting go. Continue reading

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THE RULES OF ACTING ©2010 by Eric Stone

Acting is a craft and an art. Craft means that it requires ability, aptitude, know-how and skill. It also means that it is governed by specific principles, rules, tools and techniques which, when applied, produce an impact or an effect in the direction of the intended result. Continue reading

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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. Continue reading

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Eric Stone performs Stravinsky’s A Soldier’s tale (Histoire du Soldat)

Track 02 Philippe Benichou Starring Stravinsky’s A Soldier’s Tale

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Eric Stone performs Stravinsky’s A Soldier’s tale (Histoire du Soldat)

Eric Stone aka Philippe Benichou in Igor Stravinsky’s Histoire du Soldat. St Barts Music Festival and Pittsburgh Chamber Music Society Continue reading

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One of my all-time favorite actors Gérard Philipe

Gérard Philipe in La Mort du Loup by Alfred de Vigny Continue reading

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“On my Feet” Scene Study Technique by Eric Stone

Make the place here and now/activities/objects/ condition/ atmosphere, and read again focusing primarily on those aspects. Never go for emotion at any early stage of the rehearsal process. Continue reading

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“Off My Feet” Scene Study Technique by Eric Stone

“Off my feet” refers to the time an actor spends working on the scene before s/he actually “gets up” to rehearse it. More work is done on theme, understanding, plot, and readings of the work. The actor should aim at developing his or her own technique based on life experience, acting training, and personal intuition. All aspects of the above scene study technique will be explored in depth. It is required that you familiarize yourself with all the scene study vocabulary and distinctions in technique class. I highly recommended that you read Uta Hagen’s excellent book: RESPECT FOR ACTING. In addition to having been trained by Miss Hagen personally in New York City, I happen to believe that this is the best, most comprehensive reference book on the craft of acting. Continue reading

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