What's New for Fall 2017: Backstage Magazine lists LAPAC as one of the top acting conservatories

Training Philosophy

LAPAC follows a training philosophy of known American Techniques.  Objectives of the American Acting Techniques include:

  • completing a formal, well-rounded, comprehensive education tailored to the actor
  • achieving fluency in the techniques of American acting: Meisner, Adler, Strasberg, Chekhov, and Yale School of Drama, placing the actor in an echelon above all others
  • mastering LAPAC’s signature course, The Actor’s Key, giving the actor the necessary edge in the creation of characters, in the world of auditions, and effective communication with colleagues in the work place
  • providing solid film and television acting techniques, setting the groundwork for careers on the screen
  • developing the actors’ physical and vocal instruments ensuring careers of longevity, depth, and diversity
  • realizing the ultimate goal for the acting student which is to behave moment to moment, spontaneously, truthfully, emotionally, and imaginatively all at the same time so that the actor is grounded and prepared to develop character work from a real place
  • benefiting from the technical and professional support, faculty, structure, and fellow alumni only available from a well-respected institution

The end result is that actors will become accomplished in voice, speech, movement, on-camera experiences, live performances, and acting techniques.  LAPAC also places a strong emphasis on-stage and production experience through in-house productions.


Sanford Meisner Technique

The established Sanford Meisner Technique leads the actor through a procedure of self-investigation, the use of Independent Activities, Entrances, Point of View, Emotional Preparation, Action, and Scene Work. The actors learn to craft their independent activities to their fullest emotional, sequential, imaginative, and challenging possibilities as well as the crafting of their entrances and exits. Other aspects of the improvisational exercises include the Domestic Exercise, the Shared Circumstance, and the Life Goes on Activity.


Stella Adler Technique

The Stella Adler Technique deals in depth with script analysis. The actors will master the breakdown of a script into beats and the use of action exercises and emotional doings to understand the character’s through-line.


Lee Strasberg Technique

Lee Strasberg’s “Sense Memory and Method Technique,” are used to help the actors develop and explore all their senses, bringing their instruments in tune with their environment and their emotional states. The use of Imagery is introduced to connect with Emotionality and Body Language.


Michael Chekhov Technique

Students learn how to create a character using their body as a physical and emotional tool. Selections from plays, poetry, and prose are utilized to train the actor to approach the text from a “physical and emotional” point of view. The course investigates the actors’ movement and relationship to space, to each other, and to situations. Exercises including Psychological Gesture, Sensory, Improvisational Movement, and Relaxation help bring awareness to their body, emotions, and mind.


Yale Technique

Introducing the components of an acting technique developed over the course of two decades by the professors at The Yale School of Drama.  Focusing on the analysis of the given circumstances of a text to generate appropriate, obtainable objectives which will help the actor become viscerally activated

Natalia Lazarus

LAPAC Founder / CEO

The Actor’s Key – Natalia Lazarus Signature Program

A course designed for actors to better understand themselves and the craft of acting.  Creating, developing, and understanding different Personality Types to produce memorable characters and diverse performances, focusing on behavior, dialogue, professions, and thinking styles.  By introducing actors into the psychological world of personality types, they will strengthen their skills as artists, produce remarkable characters, and deliver solid performances.