
SCENE STUDY – This first year course aims to lay the foundation for an actor’s study of their craft as it relates to contemporary text. Actors will examine and explore a diverse range of contemporary plays and use scenes from them to build up a variety of tools and techniques necessary to the modern performer. Through preparing, rehearsing, performing and evaluating, actors will learn how to mine the text for given circumstances, objectives, action and events and use this work to create characters that undergo change.
SHAKESPEAREAN SCENE STUDY – A course devoted to intensive scene work focusing on specific Shakespearean plays. Scenes are studied, presented, critiqued, and re-presented leading to greater facility in the use of his language and the presentation of his characters and stories. The culmination of the class is a fully staged Shakespeare play as a final project in The Festival of Theater. Instructor: Edward Berkeley
BROADENING THE CANON – This class will introduce students to BIPOC playwrights that they may not be familiar with. Students will do research on the playwright, learn to discuss the plays with a critical, curious, and empathetic eye, and work monologues from the plays. The goal is that students who don’t necessarily fit the playwright’s racial, ethnic, or sexual (to name a few) identity realize that they can still support BIPOC playwrights and identify with the work they create.
THE ACTORS INSTRUMENT (ACTING TECHNIQUE I & II) – A study of kinetic and sensory exercises used to develop the actor’s instrument. The actor will build concentration and range and vividness of expression. Intensive training in relaxation compounded with accessing the actor’s memory through instructed use of the senses will cultivate the actor’s ability to portray various roles and situations.
Instructor: Jacqueline Jacobus
ON-CAMERA TECHNIQUE: ACTING FOR FILM –This course provides actors an environment to familiarize themselves with the process of acting in front of the camera. Primary emphasis is placed on learning the technicalities of acting for the camera while delivering the subtlety and nuance required of film acting: including learning to adjust the performance for specific shot size, acting on a mark, maintaining eye line, finding the arc of the character, and learning to maintain the integrity of the script while shooting out of sequence. Students will participate in a scene shoot filmed and edited by the instructor. Instructor: T.J. Mannix
BEYOND SHAKESPEARE – In depth examination of texts from Greece to now. For understanding scenic and character construction in varying styles and periods.An introduction to two of the giant lights of modern theater, Chekhov and Shaw, through text analysis, scene work, monologues, and background readings. For the first class, please read THE CHERRY ORCHARD in “The Plays of Anton Chekhov” translated by Paul Schmidt (Harper Collins paperback, available at the Drama Bookshop, Barnes & Noble, and online, new or used.) We’ll start by discussing your responses, and mining the text for Chekhov’s clues to actors. Then everyone will be assigned a scene in the play to rehearse for presentation over the next two weeks, followed by scenes from THREE SISTERS and UNCLE VANYA, and Shaw’s CANDIDA, MISALLIANCE and ARMS AND THE MAN.
Beginning with the basics of melodic and rhythmic notation, and advancing through intervals, chords, blues scales, and more, actors will learn all the skills necessary to teach themselves an unknown piece of music, communicate knowledgeably with music directors and accompanists, and interpret songs musically as well as dramatically. Course also includes weekly sight-singing, ear-training, and ensemble singing practice.
ACTING WORKSHOP – A first year scene study class focusing on works predominantly by modern playwrights. Actors are introduced to many viewpoints by having various lecturers. Emphasis is often placed on exploring the actor-director relationship within a scene.
Instructors: TBD
ALEXANDER TECHNIQUE – A basic approach to the actor’s awareness of the body as an “instrument,” as prescribed by the specific training method set down by the Alexander Institute.
Instructor: Daniel Singer
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