- Acting II
Instructor: Derek Lucci
In the second year we will address the actor in total, not as an interpretive element of creation but as a creator, a collaborator, an artist. We will confront the situation one finds oneself in when acting with the goal of engaging the work wittingly – being aware that you are doing it, what it is that you are doing and to absorb what this awareness has to yield you as the actor navigating the work at hand. Our aim is to discover and solidify the fundamentals of advanced acting by focusing on the ‘work’ as clearly, dryly and un-preciously as possible. We will identify where the work begins and ends in order to unpack the simplicity or complication of the task to be accomplished within the work’s span. All the while developing the capacity and imaginative resources to realize that task.
- Contact Improv
Instructor: Natalie Thomas
Improvisational Movement is a movement training method that uses a combination of William Forsythe Dance Technologies and acting techniques. Students learn a series of systems, called “modalities of physical translation,” which offer ways to discover one’s own physical metaphors and new ways of moving. The class asks students to investigate their personal relationships to space, to one another, and to imaginary circumstances. Students discover their ability to be non-judgmental catalogers.
Instructor: Tomi Tsunoda
In this class, students work on an original piece 5-7 minutes in length that can involve any medium or combination of media appropriate to the idea (text, movement, sound, photography, etc.), and must work alone. The workshop atmosphere of the class allows for work to be shown and discussed as the students build an understanding of their own individual creative processes in relation to the needs and evolutions of their ideas. Emphasis is placed on allowing the work to develop and move from the unknown to the known. The idea that a student starts with can and does lead him/her in many different directions as the work opens up. The ability to respond in the moment of rehearsal to the work underhand, to listen to and use constructive criticism, and to be willing to risk not knowing in order to discover something are some of the benefits derived from this type of exploration. The class culminates in a final in-class showing.
- Design II
Instructor: Jo Winiarski
This class will build on Design 1. With script analysis as the foundation for the design process, class projects and discussions will translate ideas found in the text into visual ideas. In addition, verbal and graphic communication skills will be stressed as invaluable tools for the designer. This class will also introduce the very basics of drafting and model building.
- Directing II
Instructor: Rachel Chavkin
Directing II focuses on the relationship of DIRECTOR, PERFORMER, and DESIGNER with the hidden collaborator in the room, i.e. the WRITER. Emphasis throughout the year will be on how a director, performers and designers evolve an artistic point-of-view, or personal interpretation, of a given text. This is not about being original. It is about being personal. Assignments are crafted to help provide different potential in-roads for students in crafting point-of-view, and putting it onto the stage in 360 degree theatrical form.
- Movement II
This class is built upon principles borrowed from Ballet, Modern, Yoga, Release Technique, Brain Gym, Chi Gong and Body Mind Centering. It explores sequential possibilities in the spine by demonstrating how spirals emanating from the core can relate to the limbs. By highlighting specific anatomical initiations, it also focuses on clarity in movement, momentum, thrust, counter-thrust.
- Playwriting I
Instructor: Jeni Mahoney, Dano Madden
A one-semester course utilizing in-class exercises, writing assignments, and class discussion to introduce the student to the basic elements and practices of playwriting. Students will write 10-minute plays and will have the opportunity to address practical obstacles and opportunities such as: overcoming writer’s block, successful re-writing strategies and working in collaboration with actors, directors and other artists. Particular attention is paid to giving and receiving feedback.
- Project / House Management
The course description for this class is pending. Check back soon for more information!
- Voice and Speech II
Instructor: Francine Zerfas
In this course, we will focus on the development of the overall vocal instrument by focusing on the development of the actor’s body to draw the actor into a deeper physical process of making sound and engaging in language. Our classroom will turn into a Vocal Gym with the intention of working on all aspects of the voice and speech athletically. An introduction to Catherine Fitzmaurice’s Destructuring/Restructuring/Focus Line Voicework® will be a primary vocal focus of this somatic approach. In addition we will utilize additional bodywork techniques such as Bikram Yoga, Pilates, Chakra work, Gabriel Roth’s Five Rhythms movement technique and massage among others. This fall we will continue to hone the Baseline American dialect learned in the first year both in its physical and written forms. Application of the above voice and speech skills to modern and contemporary dramatic texts is the ultimate stage of our vocal process.