VOICE & BREATH
RRT, AmSAT, MFA
"Max is such a great teacher. He genuinely cares for his students and creates such a safe and welcoming environment. I've learned so much from his class and am immensely grateful for the time I spent with him."
-NYU Theater Student
Unleash Your Dynamic and Powerful Voice
We all possess a voice that is strong, powerful and free. If you think about the moments in life when you feel good and whole, when you feel seen, understood, present and at ease, you may notice that your voice and breath are connected, easy and clear. Our work together is about learning to unleash this flexible, dynamic, and powerful voice in all the moments of life. A voice that expresses who you are, moment to moment.
We will discover together the habits of mind, body and breath that are keeping you from achieving your fullest expression. Our work is an investigatory process, led by the particular needs of each individual student. I draw on my work as a certified Aleaxander Technique teacher and a Registered Patsy Rodenburg Teacher of voice & text, to create a holistic approach that treats the voice, breath, body and mind as an interconnected whole. My goal is to help you find your dynamic, connected voice. A voice that is exciting to use, that helps you to take space when necessary, that is aligned with your goals and dreams.
This work is for anyone, but can be particularly useful for public speakers, professional voice users, or people looking for training in presence and communication.
"I just want to express how grateful I am to have had Max as a teacher. He is truly a life changing educator and every time I was in class I was so grateful. I was grateful for not only the knowledge about acting Max would impart to us, but to how he approached every situation and encouraged every student with love, a love that never felt artificial. I feel so so lucky for the time Max gave us and the space Max created and that I got to work with him. He’s truly special."
-NYU Theater Student
I teach actors to get as close to the instinctual guts of the text, as close to the creative force of the writer, as possible. I find that actors often want to analyze text before they jump in and try it; they want to know why they are saying something before saying it and to understand the character’s motivation. I acknowledge that there is a time and place for a logical breakdown of the text, but I consistently find that an overreliance on reason prevents actors from accessing their subconscious connection to the play. Through my work with students at NYU, AMAW, AADA and more, I have created an approach to working on any piece of text that teaches the actor to encounter and interact with a play intuitively, precisely and with joyful abandon.
Using my approach, actors learn to read a play the same way a musician reads a piece of music. I lead students through a detailed process that teaches them to sense and feel the rhythms and musicalities inherent in the text. They find the precise movement of the character’s thought, which leads them to a felt sense of the drive of the character and to a body-understanding of the rhythmical structures in the text. The actors learn to become sensitive and pliable enough to pick up on the music of the play and to allow this music to play them. When my students work in this way they find themselves in the experience of the character, rather than outside looking in. They discover why they are saying something through the process of continually speaking the text, rather than by making logic-based decisions at home. They align themselves with the creative forces of the play, and find powerful ownership of the text and the character, a beautiful symbiosis of actor, text and character.