Acting Classes

Take your acting to the next level during our intensive acting classes. Fill out the form below if you want to apply.

Acting Classes


Romy Irene offers hands-on acting classes tailored for professional actors with prior industry experience or a formal drama school education. Continuous education is crucial, even for seasoned actors. In each class, actors perform and work on scenes under Romy’s coaching. Outside of class, actors dedicate 3 to 6 hours per week to rehearsing with their scene partners.

For those who prefer learning through observation, there’s also the option to attend the class without performing a scene. This is an excellent opportunity for beginning actors or directors to deepen their understanding of the Chubbuck technique.

Upcoming Acting Courses

Below is the schedule for our upcoming Scene Study courses in Dutch or English. These are ongoing acting classes, and you’re welcome to join one or more courses. In each class, we focus on scene work to deepen your craft and performance skills. To apply for any of our acting courses, please send your CV, headshot, and showreel to contact@romyirene.com. Admission to our courses is based on your motivation, experience level, and a personal interview with Romy.

22 September – 22 December 2025
No Class on 20 Oct & 24 Nov 2025

Scene Study

  • 14-16 Students
  • 8 Classes
  • 3 Hours Each
  • Monday evenings
  • Dutch
  • Amsterdam

excl. 21% VAT

Sign up before 20 August 2025

29 Sep, 13 Oct, 3 Nov, 17 Nov, 8 Dec, 22 Dec 2025

Scene Study

  • 8 Students
  • 6 Classes
  • 4 Hours Each
  • Monday mornings
  • Dutch
  • Amsterdam

excl. 21% VAT

Sign up before 20 August 2025

October – December 2025
Exact dates TBA

Scene Study

  • 8 Students
  • 6 Classes
  • 4 Hours Each
  • Friday mornings
  • English
  • Antwerp (BE)

excl. 21% VAT

Sign up before 20 August 2025

19 January – 16 March 2026
No class on 16 Feb 2026

Scene Study

  • 12-16 Students
  • 8 Classes
  • 3 Hours Each
  • Monday evenings
  • Dutch
  • Amsterdam

excl. 21% VAT

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Course Subsidy

What Will You Learn

Step into a powerful, hands-on journey where you won’t just study — you’ll fully embody the 12 transformative tools of the Chubbuck Technique. From defining your Overall Objective and Scene Objective to mastering beats, actions, and inner monologue, you’ll learn how to let it all go in the moment.

In our Scene Study classes you’ll live the Chubbuck Technique through active scene work, emotionally charged exercises, and collaboration with fellow dedicated actors. Each class is designed to help you dig deeper, personalize your work, and break through emotional blocks, empowering you to deliver performances that are bold, authentic, and memorable.

If you’re serious about mastering your craft, this is where it begins.

1. Overall Objective

Your character’s deepest emotional and primal need that drives their entire existence and choices.

The Overall Objective is your character’s deepest, most primal life goal — the emotional fuel that drives every decision, scene, and interaction. It’s not a surface-level want, but a universal, powerful need: to be loved, to feel safe, to be validated, or to find purpose. This acting tool grounds your character in humanity and emotional truth. When you uncover this core desire, you tap into your character’s emotional engine — it becomes the foundation of the performance, shaping how they fight, love, defend, and break.

2. Scene Objective

The immediate goal your character is fighting to achieve in a specific scene.

This is what your character wants from the other character over the course of an entire scene. It should support the Overall Objective. A strong Scene Objective is proactive, specific, and winnable — something the character wants from the other actor with clear intention, such as “I want you to love me inspire of my flaws” or “I want you to give me my power back” or “I want you to absolve my guilt”. This keeps the actor active and motivated, turning the scene into a dynamic pursuit rather than a passive expression of emotions.

3. Obstacles

The internal and external hurdles standing in the way of your character’s objective.

Obstacles are physical, emotional, or mental hurdles that make it difficult for a character to achieve their objectives — and they’re essential for creating dramatic tension. These can include emotional wounds, fears, limiting beliefs, societal pressures, or resistance from other characters. Identifying and embodying these obstacles makes a performance more authentic and dynamic, because real life is never obstacle-free. According to the Chubbuck Technique, obstacles don’t just shape the character — they drive the character’s desires. In other words, the character wants what they want because of the obstacles they face.

4. Substitution

Endowing the other actor in the scene with a real person from your own life who makes sense to your objective.

Substitution involves replacing the other actor in a scene with a real person from your own life who triggers the same emotional need as your character’s. This tool adds depth, history, urgency, and a sense of real desperation to the performance. By using substitution, you tap into the emotional and layered responses that come from genuine personal experiences. It allows you to attach deep, authentic, and complex emotions to another actor — feelings that would normally take years to build in real relationships.

5. Inner Objects

Mental images or memories that trigger genuine emotional responses during the scene.

Inner Objects are vivid mental images or memories about a person, place, thing, or event. These might be the image of someone’s face, the memory of a meaningful place, or a significant past moment. Inner objects create an internal reality that supports your scene objective and aligns with your substitution — even in moments of silence. It’s like playing a personal movie in your mind when you speak or listen, adding emotional layers and authenticity that resonate beyond the words.

6. Beats and Actions

Breaking the scene into emotional shifts and assigning playable tactics to each thought.

Every scene contains emotional shifts — these are called beats. In the Chubbuck Technique, a scene is broken down into beats, and each one is assigned a specific action or tactic. Actions are mini-objectives: words or behaviors used to influence the other character, get what you want, and respond based on whether or not you’re succeeding. They give direction and purpose to every beat, allowing you to pursue your scene objective with clear intent. This prevents passive acting and brings rhythm, variety, and emotional strategy to your performance, making it feel alive, dynamic, and rooted in real pursuit.

7. Moment Before

What emotionally and physically just happened to your character before the scene begins.

The Moment Before is the emotional and physical experience your character went through just prior to the start of the scene. It creates a sense of continuity and life before the audience sees you — so you don’t enter the scene “cold.” You draw on a personal experience from your own life that supports the rest of your inner work and adds urgency to achieving your scene objective.

8. Place and Fourth Wall

Endowing the physical environment with elements from a place in your own life, while committing to an invisible barrier between you and the audience.

Using Place and the Fourth Wall means endowing the physical environment with elements from a place in your own life to create privacy, history, intimacy, and real-life meaning — including the room, temperature, sounds, and atmosphere. It also involves establishing a solid “fourth wall” to keep you immersed in the scene and not self-aware. The fourth wall is the imaginary barrier between you and the audience. When you commit to the reality of the place, it grounds both your body and emotions. Your senses become engaged, and the space transforms into a living part of the scene, rather than just a set or a blank stage.

9. Doings

Physical activities and the usage of props that produce behaviour and reveal intentions.

Doings are physical activities your character engages in during a scene — like writing, making coffee, folding clothes, or cleaning. These actions help keep the performance grounded and real. Doings give the character a way to regroup, find safety, make a statement, or reveal and conceal what they’re truly thinking or feeling. They expose deeper intentions, vulnerabilities, and vices. Words can lie, but behavior always tells the truth. Doings can add weight and urgency to a scene — because when a lot is at stake, we often can’t sit still.

10. Inner Monologue

The dialogue inside your head.

The inner monologue is the stream of thoughts running in your head — what you’re truly thinking or feeling. We all have thoughts we don’t say out loud, either because we can’t or shouldn’t. Inner monologue is uncensored and honest. It adds meaning, tension, and complexity to your performance. It also creates an unspoken connection with the other character — it’s not just talking to yourself, but a silent dialogue that shapes how you listen, respond, and pursue your scene objective.

11. Previous Circumstances

The emotional and narrative history leading into the scene that fuels every moment.

Previous Circumstances are the emotional and narrative history your character brings into the scene. They include everything that has happened up to this point — events from earlier in the story or from the character’s backstory. This context helps explain why and how the character operates in the world. First, you explore these circumstances without judgment, seeing the world through the character’s eyes. Then, you personalize them with experiences from your own life that align with their journey, again without judgment — seeking to understand why human beings do what they do. This process gives your character emotional truth, depth, and motivation.

12. Let It Go

Surrendering control and living truthfully in the scene, trusting your preparation.

Once you’ve done the work — prepared, personalized and rehearsed — you must let it go. This step is about surrendering control and living fully in the moment. Trust that the preparation is in your body, and allow yourself to be surprised, spontaneous, and reactive. It’s not about “performing” — it’s about being present, truthful, and brave. This is where the art happens. You stop acting, and start existing truthfully in the world you’ve created.

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