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The Lugering Method has a great energy, and is totally involving and integrative.  A fresh approach to the development of movement, voice and acting skills, by a master teacher, director and performer. The work is accessible and specific, without being overloaded with technical jargon.

Joan Melton
PhD. ADVS, Writer, Researcher, Voice Coach NYC

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I've been using the Expressive Actor technique in my voice, movement, and advanced acting classes at the University of South Alabama with much success. The process is accessible for beginning actors to discover the richness of integrated voice, movement and acting technique. The Expressive Actor also provides the advanced student and working professionals with great problem solving skills. I've made use of these skills when directing productions and in preparing students for stage combat certification tests with positive results.

Fulton Burns
Assistant Professor
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I enjoyed the workshop immeasurably. Michael is a caring and supportive teacher with a wonderful personality. His work is rooted in cultivating an intuitive understanding of our physical mechanism with an eye toward the important link between the body, breath, voice and human feeling. Previously, I had difficult moving and expressing myself physically on stage. The Lugering Method provided me a means of initiating and structuring my body, breath and voice to freely express thought and feeling. I appreciate the work very much.

Emiko Koizumi
Professional Actress/New York City
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The work of the Expressive Actor is simply smart.  It is accessible to my students at every level of development and challenging enough to keep the most seasoned actor or theatre artist interested and intrigued.  Michael's focus on integration of body and voice is what the acting field is lacking.  The ability to integrate allows the actor more freedom to choose and more choices can be discovered by combining our impulses both vocally and physically.  The work permits the actor to create without boundaries and limitations.

Marybeth Holloway
Assistant Professor
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Lugering technique is a powerful methodology for the theatre artist in that it builds strong, seamless connections between the body, the voice and the intention of the performer. It is a great flexible resource for any working, teaching or creating performer with tools that can expand, be built upon, or adjusted for any kind of performance. 

Kathryn Moller
Professor of Theater
Department Chair
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I was immediately impressed with both the clarity and totality of the Lugering Method and Michael Lugering’s encouragement as a master teacher. Since working with him,  I have required The Expressive Actor as the source text for many of my classes.  Michael’s description and presentation of the Expressive Continuum  provides a  wealth of physical choices for any actor. I continually employ  these resources  into my own training as a professional actor and my teaching.

Eric Van Barrs
Professional Actor (A.E.A.)
Associate Professor, Kent State University
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Since I came to The Lugering Method workshops with a background in anatomy and physiology for communication, I was impressed with the accuracy of information presented and its congruency with what is currently known about the physical processes of breathing, voicing, and speaking.  Too many vocal training techniques rely on metaphors that deny or oppose actual physical processes, and therefore contradict the physical sensations the actor experiences when practicing her craft.  In contrast, The Lugering Method promotes embodied physical training from a sound foundation.  Further, this method gives the actor a strong working vocabulary to discuss and modify acting choices very specifically in the rehearsal process.  I would recommend these workshops to any actor who is serious about authentic embodied expression.

Amanda Loy-Jung
Certified and Licensed Speech Language Pathologist
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It is my pleasure to share my professional and personal appreciation for Mr. Michael Lugering and The Expressive Actor Training. As a professional dancer now pursuing an acting career, the Lugering Method has  given me real  tools for accessing and communicating nuanced thoughts and feelings. The training is both rigorous and gentle and has been useful to me as a physical theater performer as well as for improving my ability to do practical scene and character development. Now I experience my words as movement, my  feelings and thoughts as physical actions. With Michael I am studying expression itself. As a colleague in the world of stagecraft, Mr. Lugering holds true to the highest standards of aesthetics and ethics. As a collaborator, Michael generously shares his extraordinary creative gifts and highly productive approach.  As a artistic mentor, Michael’s passion, intelligence and kindness has been a guiding light on my own creative path. It is my sincere hope that those reading this will have an opportunity to know and work with Mr. Michael Lugering.
 

Deanna Anderson
Actress & Teacher
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Finally, a method which passionately seeks to put back together the often compartmentalized areas of voice and dance! The Expressive Actor training brings the actor back into the body, and the mover into the voice. The method and its principles are deceptively simple, which produces effective results. Michael's passionate teaching and careful research combine in the classroom to carry the student through the lessons with ease.

Debórah Eliezer
Education Director
foolsFURY Theater   
www.foolsfury.org

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The Lugering Method is the absolute foundation of my craft as an actor.  It is a remarkably practical way of working, and gives you access to the building blocks of both action and character.  In no other technique have I encountered such a clear and precise manner of skill building for actors.  It is the equivalent of the ballet dancers barre, or the scales of a musician.  If you have been looking for an acting technique that you can practice alone and still get better as an actor, then you have been looked for the Lugering Method.

Jonathan E. Shultz
Professional Actor A.E.A.
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In my practice as an actor and educator, I knew there was a better way to approach the disciplines of voice and movement. So often we shuffle acting students off to separate classes in voice, movement, and acting technique and then expect them to master the integration of these disciplines in production without any guidance. Michael's work effectively addresses this dilemma through a practical training system that fuses all facets of acting into an integrated study. As a result of the workshops I've taken with Michael, I have become more kinesthetically-driven as an actor and have developed the vocabulary to help my students do the same.

Eric Harrell, MFA
Professional Actor (AEA/SAG)
Department Chair
Associate Professor of Acting
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The specific use of language and phrasing to define the perimeters of physical and vocal choices is invaluable to students and practitioners alike - a comprehensive integrated system.

Kristen Loree
Assistant Professor
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The Lugering Method offers powerful and practical techniques for integrating movement voice and acting, while it challenges practitioners to focus on their real, live, authentic impulses. I attended Michael’s three-day workshop in Chicago to refresh my teaching practice, and I have since found new and exciting dimensions to my work in class.

Pamela Christian
Associate Professor
Voice an Speech for Performance
University of Texas at Austin
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Detailed, direct, thorough, inspiring, illuminating, engaging, informative. The balance of technique and then application through improvisation was excellent, and the students came away with a solid introduction to a new style and philosophy.

Emma Gersh
Senior Lecture: Drama & Performing Arts

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As a Performance Studies academic and physical theatre performer, I’ve found The Expressive Actor method to be the most astute and technically accurate training to address the integrated phenomena of acting. It is the first practice I have found for traditional theatre that uses the 'actors body acting' to teach, train and articulate the complex mechanics of this art form. Over the years I have studied various approaches to voice and movement for the actor; Most utilize disciplines other than acting to train motor skills, heighten intuition, develop and strengthen the power of the body’s communication. As useful as these practices are, acting has its own language, vocabulary and sensation and I believe it is necessary to articulate and practice the actual experience of acting itself. Now in my own practice and teaching, I find the Lugering method to be the training that bridges the gap between the intellectual theory of acting and an embodied approach to actor training.


Shelley Lynn
The Vision Space

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Many young actors don’t understand the importance of having a body and voice that respond openly to the give circumstances of a scene! Once actors have had the experience of engaging their voice and body with the action of a scene, there’s no turning back! Getting them there is the hard part. The Lugering Method offers teachers and students a well-developed program for integrating the body, voice and action, and ultimately provides the tools for greater creative expression.

Felicia Myers

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I attended Micheal Lugering's Expressive Actor 2-day workshop in Philadelphia on March 8th and 9th. This was not my first exposure to the work, but it was my first experience working with Mr. Lugering. I've been studying acting for almost 20 years. During that time I've been exposed to several major acting techniques. However, I've found Michael Lugering's Expressive Actor work to be the most accessible and comprehensible. We've all found ourselves deep in an intellectual, analytical conversation during rehearsal. After which the question is always the same but never answered, "How do I play these discoveries?" Furthermore, we've all spent hours in classes doing exercises only to wonder, "How will this help me build a character? How will this help me in my craft?" 

The fact is that the cornerstone of Mr. Lugering's work's is to assist the actor in building immediately playable actions and characters. The true nucleus of the Expressive Actor technique is the exact place where other techniques fail the actor, integration of body, voice, breath, and mind. After only 2 days, I recognized integration issues in myself that I didn't realize existed. If a 2 day workshop in Mr. Lugering's technique is enough to address your limitations as an actor and provided tangible exercises to surpass those limitations, imagine what the entire 5 day commitment can unlock.
 

Burton Tedesco
Associate Instructor, Dueling Arts International
Director of Theatre, Naugatuck Valley Community College

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I started researching the application of Michael Lugering’s Expressive Actor Training exercises after attending an introductory workshop and found that my students were immediately responsive. After attending the summer training intensive. I realized the full potential for this new holistic training method to revolutionize contemporary actor training and decided to pursue teacher certification.

Lynne Perkins Socey
Assistant Professor, Earlham College

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Michael Lugering is a clear and sensitive acting teacher who bases his work in the intelligence, ease, and intrinsic power of the human body. His training offered me concrete techniques to instantly engage my body, voice, and imagination to authentically deepen my expressivity. I left feeling very inspired and immediately implemented my discoveries into my own classroom.       

Joyce Lu
Pomona College



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The Expressive Actor work is truly unique. I’ve been exposed to range of movement methodologies. I didn’t know I could still be surprised. This work is insightful and truly integrated. Experiencing and embodying the work allowed me to unlock my voice and new aspects of somatic understanding. The Expressive Actor philosophy is built on foundation of solid research into how the mind and body work together; this is not flash-in-the-pan methodology. Just as the Viewpoints gives language to the basic building blocks of working in space and time, the Expressive Actor work provides a vocabulary for describing the building blocks of action and human communication. This is good stuff. As scholarships go, the one offered by The Expressive Actor training is extremely generous. The value of the training is high and I would challenge you to find a better bang for your buck, even at the full price. As an emerging scholar, I cannot afford the premium prices of most certification and training programs. It was liberating to train and learn at relatively low financial risk, broadening my pedagogical skill set, as well as my personal practice. Michael is a wonderful host and helped all the participants to feel welcomed and included.

Julia Rada
ATME 2016 Fellowship Recipient



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I went to the Expressive Actor workshop with an interest in broadening my language for interdisciplinary work with actors. I am a singer/dancer who works mostly with actors in voice and speech. While I consider myself to be well versed in interdisciplinary work, I came away with many immediately implementable practices and, most importantly, a thirst for further exploration in the classroom and in my own practice. Through the Expressive Actor Workshop, Michael Lugering offers an opportunity for integrative practitioners to explore the great desire for specificity of language and specificity of practice. As a group we considered the means by which actors can respond to impulses with a united body, breath and voice first experientially and then through discussion. Michael created a space for intensive work in his own fields of study followed by an engaging and open space to discuss and combine ideas. Michael's work offers very practical and easily implementable modules that bring an actor's desire to express first through free movement in their body and consequently through their breath and finally through an integrated body and voice. His workshop creates space to discover, rediscover, or sharpen a personal, embodied connection to impulses and is an excellent opportunity for teachers and actors to come together to explore actor training as a whole.

Ann Marie White
2016 Vasta Scholarship Recipient