AdlerImprovTeacher
Training

with Rob Adler

Complete pedagogical training for people who teach actors. Develop your teaching through study, practice and personal mentorship with Rob Adler.

Great Acting Looks Improvised.

Great Teaching Looks Invisible.

Module A · 30 hours led by Rob AdlerThe first of four planned modules.Beginning the second week of January 2027.Live online sessions + two days in Chicago.
Independent practice is additional.

Applications are open for the first cohort.

Rob Adler working with an actor as the group observes

Learn to build a course of actor training, guide students’ development, create a learning culture, and assess their progress.

Viola Spolin’s theatre games are at the core of AdlerImprov. Rob Adler advances that foundation for the modern profession and conservatory, bringing together actor development, curriculum design, classroom culture, consent, cultural competence, trauma-informed teaching and access. AdlerImprov connects the actor’s preparation with spontaneous performance on stage and screen.

Throughout the training

Develop your teaching judgment.

Learn to see what the work asks of the actors, decide what to change, and recognize when to let them work.

Meet Students in the Moment

Learn to choose and adapt games, connect them into lessons, and build a sequence that develops actors’ skills.

Study what rules, focus and challenge make possible. Use observation and evaluation to decide when to repeat, extend or change the work.

Decenter the Teacher

Examine how authority, approval and disapproval, culture, consent and access shape the learning space.

Practice giving clear instructions, supporting actor agency and adjusting the work for the people in the room.

Areas of study

The pathway begins with Module A, a 30-hour practicum led by Rob Adler, and continues through Modules B–D. The subjects below come together in lessons through games, observation, teaching practice and reflection. Earlier skills return as the work becomes more complex.

Personal mentorship with Rob Adler

Module AFoundations: Playing and Teaching the GamePlay the games, teach fellow participants, and revise your teaching with feedback from Rob Adler.

  • Experience the work

    • Spolin’s foundation and Rob Adler’s advancement of it.
    • The Head & The Space — what we mean when we say “get out of your head.”
    • Setting up the space.
  • What’s in a Game

    • Play
      • The inherent drama of games.
      • Somatic learning.
    • Rules
    • Focus
    • Sidecoaching
    • Evaluation
    • Summary
  • Problem Solving

    • Playing with Problems
  • Teaching practice

    • Choosing games.
    • Introducing games.
    • Warm-ups
    • Decenter the Teacher: approval/disapproval, authority, intimacy, agency, access and the learning space.
    • Establish consent and participation boundaries.
      • Trauma-informed teaching: clear agreements and participation choices.
    • Plan a short lesson, teach it to fellow cohort participants, receive feedback from Rob Adler, revise and teach again.
      • Sensory work, focus, impulse and partnering.
      • Space Substance
        • Shared attention: making an imagined world tangible together.
    • Begin applying the work to prepared material.

Module BBuilding a Course of Actor TrainingDesign a syllabus, sequence lessons, and plan how to support and assess the actors’ learning.

  • Develop skills over time

    • Choosing the sequence; scaffolding; planning time.
    • From focus, games and senses into physicalizing Where, What and Who.
      • Spolin and improv: comparing approaches to improvised scene work.
    • Skills on the Spiral: play, action, partnering, interpretation, ethics and self-sufficiency.

      A lesson on the spiral: The Assist returns as actors develop partnering, work with scripts, and collaborate with camera and crew.

  • Teach the people in the room

    • Different types of learners; ages, development and experience levels.
      • Neurodiversity and differentiated scaffolding: multiple entry points, sensory demands and processing time.
      • Universal Design for Learning (UDL).
    • Providing access; cultural competence; practicing and teaching consent.
      • Culturally responsive teaching: working with students’ cultural knowledge and lived experience.
    • Trauma-informed teaching
      • Explicit consent, personal boundaries and choices about participation.
      • Recognizing distress and responding within the teacher’s role; pausing or adapting the work.
    • Building Culture
      • The Invisible Syllabus
        • Home Visits — meeting students in their culture, with their support system.
      • Student meetings.
  • Design and assess the course

    • Creating a syllabus and connected lessons.
    • Rubrics and grading.
    • Observe learning, reflect and revise the sequence.
      • Metacognition and explicit transfer: helping actors reflect on how they learn and use the learning in new situations.

Module CStage, Screen and the ProfessionTeach actors to carry the work into scripts, camera practice and professional life.

  • Script and scene work

    • Stanislavski.
    • Script analysis: stage plays and screenplays.
    • Connecting games to scene work; carrying sensory life, impulse and partnering into prepared work.
  • Teaching for the camera

    • Frame size and acting for the camera.
    • Blocking, marks, eyelines, the frame and the offscreen world.
    • Teaching camera work with consent, access and actor agency.
  • Prepare actors for professional life

    • Acting as an identity.
    • Headshots, reels and solo work.
    • Unions, agents and taxes.
    • Independent preparation and self-coaching.

Module DSupervised Teaching, Mentoring and IntegrationBring course design, teaching practice and assessment together through observed teaching and a portfolio.

  • Plan and teach

    • Bring together the sequence, syllabus, teaching practices and assessment.
    • Teach with observation and mentoring.
  • Reflect, revise and teach again

    • Examine instructions, sidecoaching, timing and what the actors actually did.
    • Adjust the challenge and develop your judgment.
    • Carrying the learning process into daily life.
  • Demonstrate the learning

    • Assemble lesson plans, observations, feedback and revisions into a teaching portfolio.
    • Discuss your choices, address corrections and identify further practice.

Personal mentorship

Study the choices. Not just the exercises.

Before you teach a game, play it. Then learn how to choose and shape the work, where to put your attention, and how to decide what comes next.

Bring your current classroom practices into the work. Receive feedback and mentorship from Rob Adler on the teaching you’re already doing.

You’ll plan a short lesson and teach it to fellow participants in the cohort. With feedback from Rob Adler, you’ll revise and teach again. Together, you’ll examine how your instructions and sidecoaching affected the actors’ work.

Evaluate the work through the game’s focus. Learn to describe what you observed, ask useful questions, and help actors recognize what they’ve learned.

Rob Adler working with an actor beside a cinema camera
Director. Filmmaker. Actor. Educator.

Rob Adler

Rob Adler founded AdlerImprov and has taught at DePaul University, USC and CalArts. His production coaching includes work with Disney, Lionsgate, FOX, NBC and ABC.

More about Rob Adler

Watch & Read Rob Adler’s Work

Bring your experience.
Stay ready to play.

For experienced acting teachers, directors, coaches, and actors moving seriously into teaching.

Admission will be by application, with attention to your acting education, your preparation for teaching and your experience with Spolin’s theatre games—including who you studied with and how much training you completed.

Plan to join regular live online sessions, travel for in-person training, and complete assignments through your own work teaching, directing or coaching adult actors.

Applicants without suitable prior study in Spolin’s theatre games will likely need 90 hours of separate games preparation before Module A.

You may apply before completing this preparation. Rob Adler will review your prior training and identify what you need to complete before starting Module A.

Foundations: Playing and Teaching the Game.

30hours led by Rob Adler

All 30 hours of Module A are led by Rob Adler: 21 hours of live online instruction and mentorship, plus nine hours together in Chicago. Independent practice and teaching assignments are additional. The cohort is limited to eight participants.

Live online cohort sessions · 21 hours
Meet regularly with Rob Adler and your cohort for study, teaching practice and feedback. Meeting times will be arranged around the cohort’s availability.
Two days in Chicago · 9 hours
Train together in a shared physical space. This required gathering is part of Module A; dates will be arranged with the cohort.
Independent practice · additional
Apply the work in your own setting teaching, directing or coaching adult actors between meetings. Reflect on what happens and bring that learning back to the cohort.

The first cohort is planned to begin in the second week of January 2027, with the detailed schedule arranged around the cohort’s needs. Applications are open for the first cohort. Completing Module A does not confer certification.

Module A tuition: $4,000. Includes live online and Chicago instruction, course materials, mentorship and feedback. Travel, lodging, meals and any prerequisite games training are separate.

Payment schedule: $1,000 after acceptance and confirmation of the schedule; the remaining $3,000 is due two weeks before training begins. Tuition and payment details.

Who will I teach in Module A?

Initial teaching practice is with fellow cohort participants: plan a short lesson, teach it, receive feedback from Rob Adler, revise and teach again. Asynchronous assignments involve your own work teaching, directing or coaching adult actors. Bring your current classroom practices into the work for feedback and mentorship.

How does the longer pathway develop?

Modules B–D extend the foundations into course design, stage and screen work, and supervised teaching. Continued study, mentoring, reflection and assessment support that planned progression.

What preparation will I need?

Prior experience with Spolin’s theatre games matters. Applicants without suitable prior study will likely need 90 hours of separate games preparation before Module A. Read about prior study and possible preparation.

Consider the first cohort.

Explore the application questions about your training, teaching experience and what you hope to develop with Rob Adler.

Apply for the first cohort Questions? Contact Rob Adler