• 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.

  • Bustin’ Moves

    Instructor: Sam Pinkleton
    BUSTIN’ MOVES is a high-energy repertory dance class designed to strengthen and diversify students abilities to learn and execute movement quickly and with precision. A combination of dance class, aerobics, and boot camp, the class places emphasis on growth through focus, repetition, and sense of humor. While dance experience is not required, fearlessness, athleticism, and an appreciation for the absurd are strongly suggested. Students will move through a sequence of choreographic drills, conditioning exercises, and dance combinations that vary in difficulty and style throughout the semester, working to improve choreography retention through an exploration of weight-bearing, coordination, counting, directional shifting, memory, stylistic mastery, total body commitment (dancing “full-out”), and showmanship. Using a shifting vocabulary to suggest methodologies of a variety of choreographers, a wide range of choreography-learning scenarios will be recreated in class to best prepare students for real-world audition and rehearsal rooms.

  • 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.

  • 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

    Instructor: Miller
    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.

  • Music Performance

    Vocal Music is an intensive split-focused course in Sight Singing, Repertoire, and
    Performance Individuality. The music portion is geared to help the individual gain
    an understanding of music in becoming a stronger musician. Sight Singing is
    taught through the principles of Music Theory and Choral Singing, and giving
    students the opportunity to become a self-reliant musician. The second portion of
    the course is to create a strong Audition/Song Repertoire that supports them as an
    individual. Learning how to tackle and manage the any personal interference. As
    well working on gaining the knowledge on how to continue independently postcollege
    in finding new repertoire.

  • Scene Study

    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.