Acting Classes and Workshops

*for educational purposes only

I am text block. Click edit button to change this text. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.

MASTERY OF ACTING – acting classes for all

Barbara Kite is committed to the development of her students, an acting class that provides a safe place to fail and consists of supportive, risk-taking peers, and offering all artists the tools necessary to reach the next level of their growth.

Are you new to the profession? Or have you had classes before but feel something is missing? Are you a professional wishing there was a safe and constructive place you could go to be challenged?

Do you want a strong supportive group of actors and artists with whom you can grow and exchange ideas?

Would you like someone who acts like your own personal acting coach, someone who is a professional actor, someone who works with you as an individual?

Barbara Kite’s MASTERY OF ACTING CLASSES offer a solid foundation for beginners, expansion of form and theory for intermediates, and instructive challenges for those who seek to further refine their craft.


MONDAY 7:00  p.m. – 10:30 p.m.

$180.00 a month (four classes p/month) [Purchase]
On-going classes – All levels

INTERESTED but not sure? AUDIT one of the above classes and then decide.
CALL FIRST to schedule your visit.

AUDIT one session Mastery of Acting Workshop – $45.00  [Purchase]

Studio Location and Contact Information

PRIVATE COACHING – one 60+ minute session
$150.00  FOR NON-STUDENTS  [Purchase]
$100.00 for currently enrolled students  [Purchase]

A one-on-one session tailored to your specific needs. CALL FIRST to schedule your session.

A BLENDED METHOD, incorporating Stanislavski, Meisner, Chekhov, Strasberg, Hagen, Spolin, Grotowski, Brook, Morris, Laban, Bogart, Sonenberg, Berry and others, will be used as you participate in exercises designed to will help you develop your own “personal method” and reawaken, expand, and deepen your existing approach.

I see it every week in class.  Sit in and observe for yourself!

Through character objectives, perspective, relationships, emotional preparation, urgency, and calibrating the actor’s instrument with character choices, as well as theatre exercises to stretch the imagination, improvisations, independent and partnered activities, monologues and scenes, you will learn to develop your craft and technique.

Although focus is not put on any one method, most actors will start off with the Meisner Technique and picking up a copy of SANFORD MEISNER ON ACTING is highly recommended.


SPECIAL GUESTS are, on occasion, invited to share their techniques and experiences with the class, exposing actors to new and different levels of awareness and creativity. We also recommend your choice of body work on a regular basis – be it Yoga, Pilates, Jazz, Dance or any other body awareness classes you can find to more intimately inhabit your instrument.

SHOWCASES and SPECIAL PROJECTS are periodically performed by members of the ACTING CLASSES under the direction of Barbara Kite. See REVIEWS.


Director and acting teacher Lorraine Bahr
Mask work  Gwynne Allyn Warner
Performance Works NorthWest (movement) Linda Austin
Butoh (movement & body work) Doranne Crabble
Erhart Talent (franchised former agent) Lo Earhart
Toadcity Productions Adrienne Flagg
Sowelu Theatre (character work) Barry Hunt
Phoenix Theatre (dialect coach) Nurmi Husa
Phoenix Theatre (singing) Cindy Lyndin
Casting Director Megann Ratzow
Imago Theatre (body work) Carol Triffle
Profile Theatre (script interpretation) Jane Unger
Q6 Talent Agency (former agent) Chris Cusick
Singing teacher extraordinaire Michelle Kooper-Seymour
On camera work Ted Rooney
Cast Iron Studios Eryn Goodman
Q6 Talent Agency (former agent) Aaron Fitzgerald
Introduction to Clown Though Mask Jon Farley
Vocal Coach – Devon Allen
Director, acting teacher, Barry Hunt

Talent Agent – Mary Dangerfield, Dangerfield Talent

[Back to Top]



VICTORIA (formerly Victoria & Jazzy Songs of Love)
– International Women’s Day
– Artichoke Music Backstage

Just For Laughs (with original one act, MARTIN’S FIX, by Michael Langman)
– NW Academy Theatre Space

– NW Academy Theatre Space

Scene Night
– Portland Repertory Second Stage

Border Crossings
 Artists Repertory Theatre (& toured Portland High Schools)

NAKT: Stories from the Holocaust
 Interstate Firehouse Theatre (& toured Portland High Schools)

Ms. Kite has received Regional Arts and Culture Council Grants for her innovative theatre projects with the Professional Acting Workshop for Young Adults. The young actors research a theme and learn to work as a unit by making group decisions regarding the production – writing, producing, casting, acting, publicity and more.

She has produced/coordinated NAKT:STORIES FROM THE HOLOCAUST (the stories of young people dealing with the Holocaust) and BORDER CROSSINGS (the stories of immigrant teens).

In the Kabuki theatre, there is a gesture which indicates ‘looking at the moon’, where the actor points into the sky with his index finger. One actor, who was very talented, performed this gesture with grace and elegance. The audience thought: “Oh, his movement is so beautiful!” They enjoyed the beauty of his performance, and the technical mastery he displayed.

Another actor made the same gesture, pointing at the moon. The audience didn’t notice whether or not he moved elegantly; they simple saw the moon. I prefer this kind of actor: the one who shows the moon to the audience.” From The Invisible Actor by Yoshi Oida

“I don’t believe in God, but I believe in Al Pacino. The other day I was watching Dog Day Afternoon again, and I see a man who is so true, so interesting and I understand more about the world from his performance. And you go, ‘C’mon, it’s only acting.’ Well, wouldn’t you say that a good book or a good painting allows you to see the world in a different way? When I see a great performance, I feel more alive.” –Javier Bardem

 Preparing a character is the opposite of building–it is a demolishing, removing brick by brick everything in the actor’s muscles, ideas and inhibitions that stands between him and the part, until one day, with a great rush of air, the character invades his every pore. Peter Brook

See REVIEWS for further information about these works.

“Acting is the art of self-revelation.”