October 15, 2011

Introduction

Chekhov’s Nine Basic Exercises help the actor to: increase inner strength; develop the ability to radiate and receive; acquire a sense of form; enhance feelings of freedom, ease, calm and beauty; experience the significance of inner being; and learn to see things and processes in their entirety. This basic training makes the body finer and more sensitive, enriching psychology and beginning to give the actor a degree of mastery over his or her instrument. Please note: This date was previously announced as October 22.

November 12, 2011

Character Tools

Using imaginary centers, the imaginary body, and specific exaggerated features, we distinguish the differences between actor and character, and develop the ability to step into and out of a full and alive character.

December 10, 2011

Gesture

We explore the invisible soul movement that colors everything a person does or says, and learn about movement as the key to our will power and our desires.

January 7 & 8, 2012

Psychological Gesture

A deeper study of the archetypal gesture that belongs to each character and informs everything he says and does. We learn how strength, type, and quality of movement conjure the life of feeling and will, and explore the possibility of recognizing, choosing and creating a new and different psychological gesture.

Guest instructors Laura Geilen and Benedicta Bertau will introduce us to the magical realm of clowning.

February 25, 2012

Imagination and Incorporating Images

Working consciously to develop objective imagination, we soon find that characters can grow and develop by themselves. When the right relationship is made with our life of images, sparks of inspiration can strike with greater frequency and accuracy, and our body can begin to be molded and permeated from within by artistic feelings, emotions and will impulses.

March 17 & 18, 2012

Atmospheres, Sensations

Here we will approach the most delicate and ephemeral facets of Chekhov’s technique. We will explore the awakening of creative feelings and atmospheres by wooing them (rather than forcing them), and discover how quality of movement conjures feelings. When our feelings are truly kindled, the performance finds true inspiration.

Guest instructor David Anderson will lead us into the adventures of improvisation.

March 31, 2012

Improvisation and Ensemble

The artist’s highest aim is free and complete self-expression. Through daring to improvise together, we may discover the inexhaustible well from which all improvisation is drawn, and find a new sense of freedom and inner richness. Ensemble work opens the possibility of sensitive, unselfish creating.

April 21 & 22, 2012

Different Types of Performances

Using the law of contrast, we stretch the soul muscles to encompass the four major types of performance (tragedy, comedy, clowning, dramatic). Doing this work can grow new capacities, vibrate new strings of the creative soul, and open new doors to human emotions; our acting technique acquires greater variety.

Guest instructors Ted Pugh and Fern Sloan will conduct a Master Class.

May 12, 2012

Creative Individuality

The actor’s higher self inspires his acting and brings genuinely creative feelings; his lower self serves as a common-sense restraining force; and the created “soul” of the character becomes the focal point of the higher self’s creative impulses. In this session we will review the material previously covered in light of this “creative individuality,” and we will explore how it might help us develop a compassionate relationship with character, audience, and the needs of the world.

June 9, 2011

Review and End-of-Year Presentation

Dates and presenters are subject to change.

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Click here to apply to the 2011-12 course.