A journey through movement, connecting the basic principles of movement techniques, such as Ballet, Horton, Graham, Jazz, and Musical Theatre to apply to an actor's body and the physical creation of a character.
The scenes selected for study and practice will come from dramatic works by playwrights of the 20th and 21st centuries. For the most part these writers will be American dramatists, but exceptions may sometimes be made. The scenes being used are assigned by the instructor, sometimes by way of suggestions by the student, if the student has a particular interest in a specific writer or character. Three scenes are presented each class. Each scene will be able to work with the teacher for approximately 50 minutes. The emphasis of the working session is on process, methods of rehearsal, engagement of body and voice, employment of principles of craft, and self-analysis.
The goal of this course is to introduce the MFA directing students to the depth and breadth of the knowledge contained by some of the most exciting directors working today. Through three distinct sections, faculty will share with students a bit of their expertise in a particular topic, discussing how it informs their directing practice, and providing opportunities for students to learn by doing.
Theatre Games to access, release into and foster playfulness. Through games, students build a foundation for curiosity and boldness. Students learn to listen to their creative instincts as an aid to dissolving self-judgment. Games are played in a bare room and out of nothing more than our imaginations.
In this course, students will continue an exploration of their Idiolects in relationship to both extemporaneous and heightened texts through class and small group work that focuses on audibility, clarity, resonance, vocal dynamics by way of imaginative activation, articulation and ownership. The objective of this course is for students to activate their speech in such a way that it ignites and expands both their imaginations and their capacity to communicate language with honesty. They will experience a full and balanced sound that is neither pushed nor half-baked, neither rushed nor indulgent, and fill space onstage and in the world with their voice and their presence. Students will also hone their skills of self-observation, offer useful feedback and take ownership of and interpret a variety of texts to be expressed on vibration.
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Collaboration Studio is meant to foster and encourage creative relationships between and among the six concentration that comprise the Columbia MFA Theatre Program.
The goal of the class is to celebrate the process and presentation of new work.
Success is defined by a desire by all participants for working relationships to extend beyond the class and into the world-at-large.
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