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Lea offers technique classes for a variety of ages and levels. She carefully screens class members, striving always to have a class environment that is about the work, not the marketing, and that is safe enough for each class member to be willing to go out on the scariest possible limbs, without fear of being one-upped or judged.  The result is a class that is always rigorous, always experiential, not pedantic, and always (safely) terrifying. 


New circumstances require new methods.  

This ground breaking class transforms the inconvenience of Zoom into a unique teaching tool.  In class, actors learn to make deeper connections to the unconscious, to gain a new understanding of the relationship between playwright and actor, and discover a new sense of the great things that can be achieved when the actor realizes that her/his exploration and discovery of a play does not need to be vastly different from the playwright's original exploration and discovery.


Students find a new relationship between body, spirit and text, all while developing on camera technique.




Katie Bonnell & Dylan LaRocque in film, SPEED OF LIGHT, in production, directed by Lea Floden

Lea's teaching style combines techniques for following and shifting energy with the multiple techniques she learned in the classes of many of the great 20th and 21st century master teachers.

Lea follows the flow of the class, while at the same time following the needs of each student. The goal is always to seek out and remove energetic blocks, habits that inhibit freedom, acting myths that get in the way of truth.  She helps students to replace all this with an impeccable sense of truth, a strong point of view, an ability to work from the body mind- not the neocortex, and the ability to trust a technique in which you do nothing that something or someone else does not make you do.  

Add to this, a loving and forgiving approach to breath, a rigorous approach to language, and an approach to structure that comes from deep within, and you have a class that restores one's faith in acting and in oneself.


The best way to ace any audition is to build skills.

And the best way to build skills is to get to class

She has ongoing MFA & BFA Audition Classes, that work on every aspect of these kinds of auditions.  Students build skills, but also work on the details of mastering the overly competitive acting conservatory audition processes.

In classes, Lea teaches professional acting technique, but also teaches other skills that include: showing who you truly are, managing “nerves,” truthful and appropriate contact with adjudicators, waiting room skills (these are essential), and correct protocol for follow up.




Shakespeare from every angle.

Using the techniques of John Barton, Patsy Rosenberg, Cicely Berry, Declan Donnellan and others, this unique class will liberate you from old fashioned cerebral approaches to the bard. 

If you think that you don't LIKE Shakespeare, or cannot do it, think again.   


Working with verse can give you great joy, and shift the depth of your work, even in contemporary text.

This approach to the iambic is a MUST for BFA & MFA auditioners.

But it is a game changer for all actors.

Stumbling upon Lea’s website was serendipitous! When I found Lea, I found the very acting teacher/mentor/friend that I needed.


As a Floridian living on the opposite end of the country, distance has not proven to be an obstacle to my training. Lea has provided me with intensive, personalized instruction during both our long distance Skype/Zoom calls and my trips to California.


Lea’s teaching is always kind, patient, and personal, and she draws on her wealth of experience to help her students discover what approaches work best for them. Her class is a safe space that has given me the freedom to fail and rise again stronger than I could have ever imagined.


I will be forever thankful for everything Lea has taught me as a performer and human. In short, she is MAGIC!


Carly Swain

University of Florida

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