Classes & Workshops
Scene
Study /
Jayd McCarty
TBA
(14 sessions)
This class focuses on dramatic structure and character intentions
from the author’s point of view, and the actor’s responsibility
of realizing that character through transformation of the self.
This class is designed to help actors deal with the personal
blocks and current limitations that are keeping them from being
able to fully enter the world of the play. The material used
will range from 19th Century European writers to contemporary
American playwrights.
Physical Theater & Clown /
Lucas Rooney
TBA
(12 sessions)
Based on a series of exercises designed by Christopher Bayes,
this class aims to aid the actors in the pursuit of wonder,
despair, joy, and tragedy. Through work with rhythm, kinesthetic
response, and plain old silliness, actors learn to take a blind
leap over the chasm of panic and failure into the world of gleeful
stupidity. Not concerning the typical idea of funny or the actor's
"good idea," the class core consists of the rediscovery of the
impulse to play on stage -- and the ability to free oneself
from the constructs of analysis and planning by concentrating
purely on impulses gained directly from listening with one's
whole body to an audience or another performer.
Lucid Body Technique /
Fay Simpson
TBA
The Lucid Body is a physical acting technique
based on the exploration of the seven-chakra centers. Through
movement, voice and improvisation, these exercises will reveal
the buttons that get in the way of your acting, and will expand
your sensitivity to the emotional needs of your characters.
Not for the timid, this work is geared towards individuals who
are ready and willing to face their demons and play.
Monologue Workshop /
Jayd McCarty
TBA
While many actors, through their training,
have acquired the necessary skills to act well, more than a
few feel unable to translate those skills to an audition situation.
Auditioning is its own skill... the same, but different.
This workshop focuses on how to bridge the gap between the way
you work on stage, and the way you work in the audition room.
By developing the monologue as a scene from a play and not as
"an audition," each actor will learn how to make actable
choices that lead the to an imaginative attack on any given
piece of material. Comprised of a series of group exercises;
one-on-one coaching; practical application; and mock auditions-the
workshop will teach you how to provide shape to your monologues,
how to create blocking and movement, how to make strong, clear
choices appropriate for your pieces, and finally... how to take
those choices into the audition room. Each actor will get a
chance to work on two monologues of their choosing.
Lucid Shakespeare Workshop
/ Fay
Simpson and Joseph Siravo
TBA
This 6 week workshop will explore the
fusion of the Lucid Body process with a clear and direct expression
of Shakespeare's text. Lucid Shakespeare will be co-taught by
Lucid Body founder, Fay Simpson and veteran stage & screen actor
Joseph Siravo. The workshop integrates the specificity of body
response to Shakespeare's text, providing actors with the unique
opportunity to have the Bard's words work their magic on the
visceral ever changing body under the guidance of two theatre
artists who have performed, directed and taught together over
the past 20 years. The focus of material in Lucid Shakespeare
will be on Archetype. Each student will choose an Archetype
after the first class, developing one monologue and one scene
with characters that embody that prototype. A Lucid Body warm-up
will be taught at the beginning of every class along with a
process of physical character development through the use of
the chakra centers. Voice, text and language skills will then
be utilized as the content of Shakespeare's text is deciphered
and his characters are embodied.
Shakespeare's Toolkit /
Rob Clare
TBA
This spring, one of the world's preeminent
Shakespeare authorities will bring his unparalleled teaching
skills to The Studio/New York. Rob Clare, whose recent freelance
credits on both sides of the Atlantic include Steppenwolf and
the Royal Shakespeare Company, will be offering his unique insight
to 12 actors in an intensive and highly practical workshop.
Over the course of five-weeks, the group will survey a range
of Shakespearean texts, and differing approaches to those texts
with special attention given to working with verse. With Rob's
help, the group will demystify many of the challenges American
actors face when working on with Shakespeare's verse. The class
will discuss in depth the issues attendant on working with highly
figured or archaic language, vocabulary, imagery, and rhyme
and will also explore the challenges and opportunities inherent
in direct audience address, and on using Shakespeare speeches
in auditions.
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