The Method Acting Workshops

The workshop, in an intimate setting of about 16 people, is designed for each actor to receive constant and concentrated attention.

During the workshop, the actor will be engrossed in an intense training environment over the course of ten days. It is Castle & Orozco’s goal to take each actor from where he or she is and provide him or her with powerful tools that can take the actor to the heights of artistic achievement. They are meticulous in training actors, as well as in pointing out each actor’s strong points and offering practical tools to help strengthen areas that need work.

It is tapping into the actor’s hidden world of creativity and imaginative impulse that leads the actor to the pinnacle of the Method technique: to be highly inspired in every performance.

Ivo Canelas in the Lisbon Method Acting Workshop with Robert Castle

Ivo Canelas in the Lisbon Method Acting Workshop

The workshop is designed to:

1. Eradicate stereotypes about The Method.


2. Give the actor the tools to be inspired every time s/he works.


3. Familiarize the actor with techniques such as relaxation, sense memory, substitution/ transformation and imagined experience.


Mr. Castle & Ms. Orozco will engage the actor in a very detailed relaxation and breathing technique, which they developed, to strengthen the actor’s ability to achieve creative states of being: mentally, physically, emotionally and spiritually, that can be applied in different ways to both film and stage acting.

Scene & Monologue Work

In the ten-day workshops, each actor can work on a scene and a monologue, always from great writers. We provide the scripts and pair the actor with a scene partner before the workshop starts. The actors have the opportunity of getting on stage several times with their scenes during the course of the workshop. The scenes are worked on experientially, not intellectually. For this reason, text analysis is not done as a sitting-down academic exercise, but rather as an ongoing discovery of the life of the character and the world of the play or film.

Mr. Castle and Ms. Orozco help the actor in layering each actor’s prior training (no matter what style) onto the Method technique, and then expanding into imaginative work, engaging the actor in a process leading to a total connection to the character, the circumstances and the dilemma. The actor then arrives at the point where the ego and self-consciousness evaporate, the imagination is freed, and the character is fully embodied.

Sense Memory

The actor works on the most significant exercises in Strasberg’s Method: Overall and Specific Sensations, Smells, Tastes, Sounds, Music, Places, and Personal Objects. Then you do two at a time. Then three at a time…. These exercises allow the actor to create states of being, physically and emotionally, that the actor really experiences. Then the actor learns to move and speak on real impulse through these conditions.

Affective (Emotional) Memory

Robert and Alejandra lead the actors through emotionally challenging experiences. The actor learns to become the master of their emotions, and to use them effectively and with great control in performance.

Imagines Experience and Exercises of the Imagination

Robert Castle developed these advanced exercises to go well beyond traditional Actor’s Studio “Method” work. However, the stronger the actor becomes in basic sense memory, the more effective these imaginative exercises will be. These exercises include Imagined Experience, Image Work, Prior Life Improvisation, Transformation, Character Sense Memories, The Echo, and others.

Most serious actors write a biography of their character. But a mentally created biography, though useful, does not go far enough. The imaginary work that Castle developed uses a more experiential approach. The imagined experience and related exercises will register in the actor’s memory as though they really happened, just like events from the actor’s own life. When an actor does many exercises for a character, the actor will feel that he or she is actually living the life of the character, complete with a past life from which the actor can unconsciously act and react. Imagined experience serves to create areas of the character’s life which are not easily found in the actor’s own personal experience.

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"I am now experiencing tremendous freedom in my acting, the whole process of how to approach a character."

Trine Starup Madsen
Copenhagen Workshops 2004 and 2005