Indeed, if you are convinced, as we are, that acting cannot be reduced to
mere mastery of speech, and the actor's interpretation in no way reduced
to a mere question of talent, presence or undescribable relationship
with the public; but that it is essential to acquire a set of very practical tools. 
As a musician or a dancer will warm up,  an actor must also stimulate his senses, 
strenghthen his imagination, approach his part physically, so to speak.

This is what traditional techniques have always done very aptly. They
widen the usal training options by including song and dance and
acrobacy, sometimes even martial arts. Beyond mere cultural diversity and
formal variety, any or all organic approaches to acting, by their use of
the body itself, underscore the universal laws of movement and gesture
which govern all forms of life, and thus, the arts - from gesture to
word, from silence to immobility, from cry to song.
Then can imagination step in to relay reality.

At ARTA, our workshops last four weeks, they are placed under the
direction of great masters, usually direct transmitters and depositaries
of ancestral traditions, some only too little known, others having thus
nearly escaped oblivion