Drama classes Fees

Estimated Fees in India

₹ 400 to ₹ 1,000 per hour

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Top Ranked Tutors & Institutes for Drama classes with their fees

Gulab Chand Soni photo

Gulab Chand Soni

Andheri West,Mumbai

₹ 2,500 - 3,500 per month

I had written and directed lots of Dramas. And I am teaching acting and drama since last 10 years. you can visit my video on youtube by name of SEVENSHIPSMEDIA channel. Thanks

Tamojit Ray photo

Tamojit Ray

Sarjapur Road,Bangalore

₹ 3,000 per month

I have been associated with Theater from y childhood and have been conducting Theater training workshops from my youth. From my late teens, I got involved in professional acting and carried on with it for more than 15 years. Once I relocated to Bangalore, I kept myself engaged in Theater by associating in production work mainly. Then I got the opportunity, about 8 years ago, to teach Drama in a school. And, I started teaching, producing and directing my students in full swing. While working in this school, I also got the opportunity to teach students for IB Drama - which is an advanced curriculum in Theater used for the international program of Education called International Baccalaureate. The students I taught there have scored very high marks in their exams and have gone on to study Theater professionally in colleges abroad. After a while, I changed my job and joined the current school I am teaching in. In both the schools, I have and still continue to work with children from different age groups, ranging between 2 and 18. In my current position, I - as a part of my job, albeit beyond the scope of daily academic work, I have started training students between the ages of 12 and 18 for the Trinity exams for Speech & Drama for various grade level ranging from Grade 1 to Grade 8.

SKILS (School of Kathak and Interdisciplinary Learning with Shruti) logo

SKILS (School of Kathak and Interdisciplinary Learning with Shruti)

Navsahyadri Post Office,Pune

₹ 1,000 per month

I run my own institution SKILS (School of Kathak and Interdisciplinary Learning with Shruti) for the past one year. I train my students (7yrs and above) in Kathak, Theatre skills and yoga. Special ladies batch is also available. I give my students stage exposure too.

Natraj Hasrat photo

Natraj Hasrat


₹ 30,000 - 50,000 per month

I'm a theatre actor & a yog trainer since 2011. I've learned Yoga at Hatha Vidya Gurukulam,Thrissur for 6 Months in 2010. I'm a drama instructor also.

Aaryam photo



₹ 1,000 - 1,500 per month

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Top Questions about Drama classes Fees

Answered on 07/12/2020 Performing Arts/Drama Performing Arts/Acting

Amardeep Hindi Urdu Diction and Acting Classes

Please don't get any online acting course; it will not work as acting can't be taught online. Someone can give some tips only, which you can read online also. Thanks!
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Lesson Posted on 07/06/2019 Performing Arts/Acting Performing Arts/Drama Film and Media/Film Making

Acting Lessons from Sanford Meisner

Victory Vision

Victory Vision, associated with conducting Acting classes for all.

Sanford Meisner (August 31, 1905 – February 2, 1997), also known as Sandy, was an American actor and acting teacher who developed an approach to acting instruction that is now known as the Meisner technique. While Meisner was exposed to method acting at the Group Theatre, his approach differed... read more

Sanford Meisner (August 31, 1905 – February 2, 1997), also known as Sandy, was an American actor and acting teacher who developed an approach to acting instruction that is now known as the Meisner technique. While Meisner was exposed to method acting at the Group Theatre, his approach differed markedly in that he completely abandoned the use of affective memory, a distinct characteristic of method acting. Meisner maintained an emphasis on “the reality of doing”, which was the foundation of his approach, below I have listed lessons that Great Actors have learned from him.

1.Actors Must Really Listen

The foundation of acting is the reality of doing.

How many times have you heard that if you want to be a good actor, you must learn to listen? As it is mentioned in his book, after a short speech Meisner asks his class: “Are you listening to me? Are you really listening to me? […] That’s the reality of doing. If you do something, you really do it!”

This is the first and most important lesson aspiring actors must learn. What Sanford here says is that when doing a scene, YOU are the character. You do not listen “as the character”; you listen as yourself and you react as yourself. Do NOT pretend to be doing something just for the sake of it — really do it.

That is the foundation of listening, which is every actor’s number one tool; ergo the foundation of acting.

If you’re really doing it, then you don’t have time to watch yourself doing it. You only have the time and energy to do it.


 2. Actors Must Use Their Instinct

It is my belief that talent comes from instinct.

When it comes to living truthfully within a scene, actors must trust their instincts. Once again, you don’t need to pretend to react on your instincts; you just react, without thinking. As Meisner mentions, the problem that a lot of actors have is that they follow only the instincts that are socially acceptable. That is NOT what truthful acting is.

“We fear being branded as uncivilized for liking or disliking something,” is what Sandy says. And that, my friends, is where self-consciousness is being born. Self-consciousness is the death of a good actor.

Here is what he says to one of his students after interrupting their exercise: “Listen, Philip, you have some kind of cockeyed idea that acting is an imitation of life. […] You try to be logical, as in life. You try to be polite, as in life. May I say, as the world’s oldest living teacher, fuck polite! […] You cannot be gentleman and be an actor.”

One of Meisner exercise’s principle is “Don’t do anything unless something happens to make you do it,” because that is what generates instinct. And the other: “What you do doesn’t depend on you; it depends on the other  fellow.” These are important principles to remember, but since we’re not covering exercises today, you’ll have to explore that one on your own.

Working of your instincts brings spontaneity to an actor’s performance, and that is when the act truly comes to life and is much more interesting to watch.

“Let your instincts dictate the changes,” says Meisner. And to illustrate what that means, Sandy pinches one of his students and she shouts “Mr Meisner!” That pinch justified the ouch; it brought a truthful and spontaneous reaction.


3.Actors Must Live, not Plan

Don’t be an actor. Be a human being who works off what exists under imaginary circumstances.

Sanford Meisner was a strong proponent of improvisation, which allows the actor to bring spontaneity into the scene. Today, everybody values great improvisation skills — it’s a vitally important tool to have. This skill would give the actor enough courage to come into the scene emotionally unattached, and in turn let the emotions be guided by imaginary circumstances of the scene.

To explain it, Sandy used a metaphor: “The text is like a canoe, and the river on which it sits is the emotion. The text floats on the river. If the water of the river is turbulent, the words will come out like a canoe on a rough river. It all depends on the flow of the river which is your emotion.” In other words, you work off your partner, moment to moment, and that is what gives birth to your emotions.

Punctuation is emotional, not grammatical. If you say, “To be [pause] or not to be [pause] that [! pause] is the question,” there are three commas, three emotional commas, and an exclamation point in those lines, but they’re not on the paper.

Additionally, you must have heard this advice a million times by now: “don’t judge your character.” This should be applied to acting in general. You must never try to understand the scene intellectually, from your own point of view. As Meisner said, intellect has nothing to do with acting.

What drives the new emotions into an actor who is ready to absorb? Listening, instincts and impulses. When doing a scene, you do not pick up on cues, you do not wait for the line — you pick up on impulses (something in your partner’s words or behaviour that makes your emotions tick). That is what real listening is all about.

To understand it better, think of one of the first rules of improvisation: you cannot prepare anything — you respond to what you are given. When an actor listens to their partner, picks up on their impulses and then reacts with spontaneitythat is what brings the scene to life.

Anybody can read. But acting is living under imaginary circumstances.

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Answered on 20/05/2017 Performing Arts/Drama

If a tutor come at home to teach do they charge the same amount what they charge for others who visit... read more
If a tutor come at home to teach do they charge the same amount what they charge for others who visit that place where they run there classes? read less

Abhishek Singh

10 Years as Film Acting coach & 6 years of personality development & person Grooming Coach

First off all drama/acting are not like maths and science, it must be learn in a group. Even though you choose it for personal classes, as you are taking his entire time alone for which at least 10 students would have paid but its more about the interest than negotiations. Definitely charges will be... read more
First off all drama/acting are not like maths and science, it must be learn in a group. Even though you choose it for personal classes, as you are taking his entire time alone for which at least 10 students would have paid but its more about the interest than negotiations. Definitely charges will be a lot more than that. read less
Answers 1 Comments
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