ANTHONY VINCENT BOVA is a well known acting coach famous for BAW (Bova Acting Workshop) that offers professional training for actors. He himself is an actor who started doing plays in Broadway and has appeared in the movie “The Emperor’s Club” with Kevin Kline and Patrick Dempsey.
"But I've realized from my mentor, Eric Morris, that I love teaching more than acting," he says. "And I've been teaching since 1979."
The acting techniques he offers are influenced by the Eric Morris System of Acting whose books “No Acting Please” and “Being” have become very popular among actors.
“In 1985, Laurice Guillen met Eric Morris and brought him to Manila in August, 1987 to give a workshop at the Manila Film Center,” says Anthony who was presented by GMA in a special presscon along with Directors Laurice Guillen and Maryo de los Reyes. “In 2015, Anna Feleo, Laurice’s daughter, met me in New York and brought me here to Manila to give workshops for three days to 46 stars of GMA Network in 2017, exactly 30 years later.”
The two main areas of focus in the BAW are the Instrumental Work and the Craft Work. Instrumental Work is the process of identifying and eliminating obstacles to expression, reacting and Being, a state the actor strives to achieve-which is expressing nothing more or less than what the actor is experiencing in the moment. It's vital for the actor to be open in their life for an experience to happen that they aim to have on stage or in front of a camera.
The second focus is on the Craft Work: the step by step process of creating the characters' reality. At BAW, this is the process of Character Development that is highly specific and personal to each actor. A few of over 30 techniques they use are Available Stimulus, Sense Memory, Affective Memory, Externals, Sub-Personality and Imaging. BAW represents the Instrumental work to focus on what gets to the depth of the raw truth of the actor.
What is the main difference of BAW with other
acting systems? “One of the things at BAW that sets us apart is that we tackle the area that is most often ignored in acting training- the actor's instrument. To us, the actor's instrument not only includes their physical, vocal, emotional and psychological state, but also their humanity- which is their life and experience. We educate the actor to work with their whole instrument by teaching them approaches and techniques to get aware of, learn from, to liberate and express their humanity, their experience of life. We have the Irreverent technique that represents the Craft aspect of our work focusing on training the actor with a wide set of tools for the actor to fulfill the character obligations with a high level of irreverence. The Reliable technique represents everything we do at BAW. We teach an actor a process they can depend on 8-times a week, on every take and on every audition.”
Among the Kapuso stars at the presscon who’ll attend BAW are Gil Cuerva and Joyce Ching. “I’m really looking forward to take this acting workshop to improve myself,” says Gil. “I want to know what it is and how I can apply it to my craft.”
"But I've realized from my mentor, Eric Morris, that I love teaching more than acting," he says. "And I've been teaching since 1979."
The acting techniques he offers are influenced by the Eric Morris System of Acting whose books “No Acting Please” and “Being” have become very popular among actors.
“In 1985, Laurice Guillen met Eric Morris and brought him to Manila in August, 1987 to give a workshop at the Manila Film Center,” says Anthony who was presented by GMA in a special presscon along with Directors Laurice Guillen and Maryo de los Reyes. “In 2015, Anna Feleo, Laurice’s daughter, met me in New York and brought me here to Manila to give workshops for three days to 46 stars of GMA Network in 2017, exactly 30 years later.”
The two main areas of focus in the BAW are the Instrumental Work and the Craft Work. Instrumental Work is the process of identifying and eliminating obstacles to expression, reacting and Being, a state the actor strives to achieve-which is expressing nothing more or less than what the actor is experiencing in the moment. It's vital for the actor to be open in their life for an experience to happen that they aim to have on stage or in front of a camera.
The second focus is on the Craft Work: the step by step process of creating the characters' reality. At BAW, this is the process of Character Development that is highly specific and personal to each actor. A few of over 30 techniques they use are Available Stimulus, Sense Memory, Affective Memory, Externals, Sub-Personality and Imaging. BAW represents the Instrumental work to focus on what gets to the depth of the raw truth of the actor.
What is the main difference of BAW with other
acting systems? “One of the things at BAW that sets us apart is that we tackle the area that is most often ignored in acting training- the actor's instrument. To us, the actor's instrument not only includes their physical, vocal, emotional and psychological state, but also their humanity- which is their life and experience. We educate the actor to work with their whole instrument by teaching them approaches and techniques to get aware of, learn from, to liberate and express their humanity, their experience of life. We have the Irreverent technique that represents the Craft aspect of our work focusing on training the actor with a wide set of tools for the actor to fulfill the character obligations with a high level of irreverence. The Reliable technique represents everything we do at BAW. We teach an actor a process they can depend on 8-times a week, on every take and on every audition.”
Among the Kapuso stars at the presscon who’ll attend BAW are Gil Cuerva and Joyce Ching. “I’m really looking forward to take this acting workshop to improve myself,” says Gil. “I want to know what it is and how I can apply it to my craft.”