Curriculum Vitae
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TRAINING the YOUNG ACTOR: a PHYSICAL APPROACH a Thesis
TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Anthony Lewis Johnson December, 2009 TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH Anthony Lewis Johnson Thesis Approved: Accepted: __________________________ __________________________ Advisor Dean of the College Mr. James Slowiak Dr. Dudley Turner __________________________ __________________________ Faculty Reader Dean of the Graduate School Mr. Durand Pope Dr. George R. Newkome __________________________ __________________________ School Director Date Mr. Neil Sapienza ii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION TO TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH...............................................................................1 II. AMERICAN INTERPRETATIONS OF STANISLAVSKI’S EARLY WORK .......5 Lee Strasberg .............................................................................................7 Stella Adler..................................................................................................8 Robert Lewis...............................................................................................9 Sanford Meisner .......................................................................................10 Uta Hagen.................................................................................................11 III. STANISLAVSKI’S LATER WORK .................................................................13 Tension -
More Than Repetition: Meisner and BA Performance Training
Theatre/Practice: The Online Journal of the Practice/Production Symposium of the Mid America Theatre Conference Volume 6, 2017 More Than Repetition: Meisner and BA Performance Training By Dennis Schebetta Introduction The Meisner technique has been taught successfully as a concentrated two-year sequence in private studios and MFA programs across the country. But is Meisner an “all-or- nothing” approach, or is “a little Meisner” better than none at all? As Head of MFA Performance Pedagogy and Assistant Professor at the University of Pittsburgh, I began to revise the undergraduate BA acting curriculum in 2014. The curriculum was primarily a Stanislavski-based training with some integration of Uta Hagen. More advanced acting classes examined heightened language and played with “styles,” using textbooks that seemed outdated. As there had been transitions in the faculty of the performance area of the department, many instructors taught from different methods; therefore, there existed an inconsistency of concepts and terminology throughout our courses. My primary goal in revising the curriculum was to give students a solid foundation of skills and maintain consistency throughout their educational journey. As my background was training in Meisner as well as other physical techniques, I searched for ways of incorporating multiple techniques in order to give students multiple entries into their craft. While doing so, I had several questions about integrating Meisner’s exercises with other techniques. Is it beneficial to use only his Word Repetition -
Dirección De Actores a Través De La Técnica Meisner”
UNIVERSITAT POLITÈCNICA DE VALÈNCIA ESCOLA POLITE CNICA SUPERIOR DE GANDIA Grado en Comunicación Audiovisual “Dirección de actores a través de la Técnica Meisner” TRABAJO FINAL DE GRADO Autor/a: Claudia Albina Estrada Tarascó Tutor/a: Beatriz Herráiz Zornoza GANDIA, 2019 NOTA DE AGRADECIMIENTOS A Laura Moise por descubrirme la Técnica Meisner. Y, sobre todo, a la actriz Marta García y al actor Raúl Gómez por implicarse en este bonito proceso y confiar en mi como directora. 2 Resumen Este trabajo se presenta como una investigación experimental en el ámbito de la dirección de actores. Está basado en la Técnica Meisner y se aborda desde la práctica, aunque sustentado desde la teoría. Con un guion, de creación propia, se ha dirigido a dos actores que carecían de conocimientos previos. Durante el proceso de ensayos, registrado tanto por vídeo como por escrito, se ha realizado un profundo análisis sobre cómo de efectiva ha sido la técnica en los actores y cómo han ido evolucionado. Palabras clave Dirección, actores, técnica, Meisner, ensayos Abstract This work is presented as an experimental investigation in the field of the direction of actors. It is based on the Meisner Technique and is approached practically, although backed up by theory. A self-written script was used to direct two actors who lacked prior knowledge of the technique. During rehearsals, recorded both by video and in writing, a thorough analysis was made into how effective the technique had been in the actors and how they have developed. Keywords Direction, actors, technique, Meisner, rehearsals 3 ÍNDICE 1. INTRODUCCIÓN ................................................................................................................... 5 1.1. -
Curriculum Vitae Jim Vanvalen Associate Professor of Theatre & Head of Acting Actors’ Equity Association CONTACT
Curriculum Vitae Jim VanValen Associate Professor of Theatre & Head of Acting Actors’ Equity Association www.jimvanvalen.com CONTACT Address: Cornell College 600 First Street SW Mt. Vernon, IA 52314 Phone: 319-895-4562 E-mail: [email protected] EDUCATION M.F.A., University of Iowa, 2007 Emphasis: Acting Thesis: “An Actor’s Process” -- An exploration of my process as a professional actor -- from preparation to performance -- and an examination of my discoveries and work over a ten-year period. Specific Training: Acting -- Stanislavski, Meisner, Period Styles Voice -- Berry, Rodenburg, IPA, Dialect Work Movement -- Stage Violence, Laban Effort-Shape Western Theatre History -- Classical to Romantic Periods M.A., Stony Brook University, 1996 Emphasis: Theatre Arts Thesis: “The Creation of a Father-Son Drama: Using the Psychological Theories of Samuel Osherson as a Structural Model” -- The construction of an original solo play entitled “Lullabyes” based on my response to the text Finding Our Fathers by Samuel Osherson. This study led to a full production of “Lullabyes” performed for the Stony Brook Arts Festival. B.A., Stony Brook University, 1992 Emphasis: English/Theatre Performance Magna Cum Laude SPECIALIZED TRAINING & CERTIFICATIONS . Meisner Teaching Certification with Larry Silverberg, 2014 True Acting Institute, Willamette University . Shakespeare’s Heightened Language Workshops I & II with Patsy Rodenburg, 2012-2013 Michael Howard Studios, NYC . DAH Theatre Movement Workshop with Dijana Milošević, 2010 ACM Performance Educators’ Conference, Coe College, IA . Linklater Intensive with Louis Colaianni, 2007 University of Iowa, IA . Dell’Arte 2-Day Workshop in Mask and Movement with Joan Schirle, 2006 University of Iowa, IA 1 TEACHING Associate Professor and Head of Acting, Cornell College Department of Theatre, 2007-present Undergraduate Courses and Descriptions: Basic Acting -- An introductory study of the work of the actor. -
Arts Vivants Asbl
arts vivants asbl presents its first workshop for actors and actresses: Introduction to the Meisner Technique with Irina Casali on 12 & 13 October 2013 from 10am to 5 pm at the Banannefabrik | 12, rue du Puits | L-2355 Luxembourg-Bonnevoie The Meisner technique is an acting technique developed by the American theatre practitioner Sanford Meisner. Sandy Meisner developed this technique after working with Lee Strasberg and Stella Adler at the Group Theatre and as head of the acting program at New York City's Neighborhood Playhouse and continued its refinement for fifty years. By the 1990's, The Meisner Technique had trained a number of generations of actors, including Robert Duvall, Gregory Peck, Bob Fosse, Jon Voight, Jeff Goldblum, Grace Kelly, Diane Keaton, and others. Today the Meisner Technique has become the dominant acting technique among successful film and television actors and almost every acting school in California began to offer some kind of Meisner training. Acting is doing & meaningful acting is doing under emotional and truthful circumstances. Have a way of doing. BE SPECIFIC! Sandy Meisner Irina Casali Recently graduated from the Meisner Technique taught by Larry Silverberg, Irina is the artistic director of the ALA ACTING LANGUAGES ACADEMY in Milan. As an actress and stage director, she participated in many festivals across the world. Irina received a Silver Medal form the President of the Italian Republic in 2005 for the play “HACI GUIGO: 8.15”, which she wrote and directed. She has been an acting teacher for 20 years. She works with the Meisner Technique which she learned from her father (who assisted lessons of William Layton), Tom Radcliffe, Simon Furness and Gary Condes with whom she trained at the “Actor’s Temple” in London. -
Become a Season Member! Paid 17 N
PRSRT STD U.S. POSTAGE BECOME A SEASON MEMBER! PAID 17 N. STATE, SUITE 810 CHICAGO, ILLINOIS 60602 CAROL STREAM, IL SIX SHOWS FOR AS LOW AS $120 PERMIT #1369 ORDER ONLINE OR BY PHONE! BROADWAYINCHICAGO.COM • SUBSCRIPTION 312.977.1717 CONNECT WITH US ONLINE AT GROUPS 312.977.1710 • SINGLE TICKETS 800.775.2000 BROADWAYINCHICAGO.COM/SOCIAL WORLD PREMIERE WORLD PRE-BROADWAY PRE-BROADWAY SEASON SHOW SEASON SHOW PHOTOS: MATTHEW MURPHY PHOTOS: MATTHEW MARCH 8 - 20, 2016 The quintessential backstage musical comedy classic, 42ND STREET is the song-and-dance fable of Broadway with an American Dream story and includes some of the greatest songs ever written, such as “We’re In The Money,” “Lullaby of Broadway,” “Shuffle Off To Buffalo,” “Dames,” “I Only Have Eyes For You” and of course “42nd Street.” Based on a novel by Bradford Ropes and Busby Berkeley’s 1933 movie, 42ND STREET tells the story of a starry-eyed young dancer named Peggy Sawyer who leaves her Allentown home and comes to New York to audition for the new Broadway musical Pretty Lady. When the leading lady breaks her ankle, Peggy takes over and becomes a star. With a book by Michael Stewart and Mark Bramble, music by Harry Warren and lyrics by Al Dubin, this sparkling new production will be directed by co-author Mark Bramble and choreographed by Randy Skinner, the team who Written by staged the 2001 Tony Award®-winning Best Musical Revival. WOODY ALLEN Based on the Screenplay of the Film BULLETS OVER BROADWAY by “OLD-FASHIONED, LAVISH Woody Allen and Douglas McGrath Original Direction and Choreography by SHOWMANSHIP.” —VARIETY SUSAN STROMAN APRIL 19 – MAY 1, 2016 PHOTO: CHRIS BENNION Hailed by Time Magazine as, “Musical Theatre Gold!,” BULLETS OVER BROADWAY is the hilarious musical comedy about the making of a Broadway show. -
The Art of Film Acting: a Guide for Actors and Directors
The Art of Film Acting This Page Intentionally Left Blank The Art of Film Acting: A Guide for Actors and Directors Jeremiah Comey Focal Press is an imprint of Elsevier Science. Copyright © 2002 by Elsevier Science (USA) All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Recognizing the importance of preserving what has been written, Elsevier Science prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Comey, Jeremiah. The art of film acting : a guide for actors and directors / Jeremiah Comey. p. cm. Includes bibliographical references and index. ISBN 0-240-80507-0 (pbk. : alk. paper) 1. Motion picture acting. I. Title. PN1995.9A26 C65 2002 791.43'028--dc21 2001058628 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. The publisher offers special discounts on bulk orders of this book. For information, please contact: Manager of Special Sales Elsevier Science 225 Wildwood Avenue Woburn, MA 01801-2041 Tel: 781-904-2500 Fax: 781-904-2620 For information on all Focal Press publications available, contact our World Wide Web home page at: www.focalpress.com 10 9 8 7 6 5 4 3 2 1 Printed in the United States of America To my wife, Janet, who taught me what love really means, and my daughters, Jessica and Megan, who have allowed me to experience a second childhood. -
Proquest Dissertations
The marriage of musical theater and the avant-garde: The musical theater of Tina Landau as experimental theater Item Type text; Thesis-Reproduction (electronic) Authors Gordon, Wendy A. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 05:54:33 Link to Item http://hdl.handle.net/10150/292018 THE MARRIAGE OF MUSICAL THEATER AND THE AVANT-GARDE: THE MUSICAL THEATER OF TINA LANDAU AS EXPERIMENTAL THEATER by Wendy Ann Gordon Copyright © Wendy Ann Gordon A Thesis Submitted to the Faculty of the SCHOOL OF THEATRE ARTS In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2003 UMI Number: 1422479 Copyright 2004 by Gordon, Wendy Ann All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 1422479 Copyright 2004 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. -
Download Judy's Resume
JUDY KUHN AEA SAG-AFTRA www.judykuhn.net Artists & Representatives Jeff Berger Management 630 Ninth Ave., Suite 220 301 W. 53rd St #10J New York, NY 10011 New York, NY 10019 (212) 505-1400 (212) 586-4978 Broadway Fiddler On The Roof Golde Dir. Bartlett Sher Fun Home (Tony, Drama League Noms) Helen Bechdel Dir. Sam Gold She Loves Me (Tony Nom) Amalia Dir. Scott Ellis/Roundabout Two Shakespearean Actors Miss Helen Burton Dir.Jack O’Brian/LCT Chess (Tony, Drama League Noms) Florence Dir. Trevor Nunn Les Miserables (Tony, Drama League Noms) Cossette Dirs. Tevor Nunn & John Caird Rags (Drama Desk Nom) Bella Dir. Gene Saks King David Michal Dir. Mike Ockrent The Mystery of Edwin Drood Ensemble/Rosa Dir. Wilford Leach/NYSF Drood u/s Off Broadway, London & Regional Fiddler on the Roof (London-Olivier Award Nom) Golde Dir. Trevor Nunn Fun Home (Lucille Lortel Award, OCC Nom) Helen Bechdel Dir. Sam Gold/ Public Theater The Visit Mathilde Dir.John Doyle/ Williamstown TF Passion (Drama League Award Nom) Fosca Dir. John Doyle/Classic Stage Co The Cradle Will Rock Sadie/Editor Daily Dir. Sam Gold/Encores! The Three Sisters Olga Dir. Bartlett Sher/Intiman Theater Passion Fosca Dir. Eric Schaeffer/ Kennedy Center The Ballad of Little Jo(Joseph Jeff Award Nom) Jo Dir. Tina Landau/ Steppenwolf Eli’ Comin’ (Obie Award) Emmie Dir. Diane Paulus/ Vineyard Theatre Dream True Madge Dir.Tina Landau/ Vineyard Theatre As Thousands Cheer Multiple roles Dir. Christopher Ashley/Drama Dept. Sunset Boulevard Betty Shaeffer Dir.Trevor Nunn/Los Angeles Metropolis (Laurence Olivier Award Nom) Maria/Futura Dir. -
Love the Art in Yourself: Empowering Actors to Honestly, Comfortably, and Successfully Embody Their Characters
Bridgewater State University Virtual Commons - Bridgewater State University Honors Program Theses and Projects Undergraduate Honors Program 5-14-2019 Love the Art in Yourself: Empowering Actors to Honestly, Comfortably, and Successfully Embody their Characters Alyssa Germaine Bridgewater State University Follow this and additional works at: https://vc.bridgew.edu/honors_proj Part of the Theatre and Performance Studies Commons Recommended Citation Germaine, Alyssa. (2019). Love the Art in Yourself: Empowering Actors to Honestly, Comfortably, and Successfully Embody their Characters. In BSU Honors Program Theses and Projects. Item 372. Available at: https://vc.bridgew.edu/honors_proj/372 Copyright © 2019 Alyssa Germaine This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Love the Art in Yourself: Empowering Actors to Honestly, Comfortably, and Successfully Embody their Characters Alyssa Germaine Submitted in Partial Completion of the Requirements for Departmental Honors in Theatre Bridgewater State University May 14, 2019 Dr. Colleen Rua, Thesis Advisor Dr. Heidi Bean, Committee Member Professor Miranda Giurleo, Committee Member INTRODUCTION As an actor, I have performed in more than twenty plays and worked with ten different directors over the years. The outcomes of these performances have varied, and so has the effectiveness of the different approaches I have experienced. As an early career director, I am working to find my own creative voice as well as my personal style of directing and communicating with actors. The purpose of this process is to address the relationship between the actor and the director and how this can best serve a production from the rehearsal process and into performances. -
Acting Methods Classical Acting / Stanislavsky System
ACTING METHODS CLASSICAL ACTING / STANISLAVSKY SYSTEM Considered by many to be the father of what’s known today as “method acting,” the Stanislavski system was founded by Konstantin Stanislavski and is based on the idea of the “art of experiencing.” The intent is to ignite an actor’s conscious thought to affect their less conscious expression in their performance, as far as emotion and subconscious behaviors. One of the world’s most frequently taught acting techniques, Stanislavski inspired scores of future teachers including Stella Adler, Sanford Meisner, and Lee Strasberg. Think emotional memory recall, spiritual realism, and self-analysis. METHOD ACTING: STRASBERG Lee Strasberg extrapolated upon Stanislavski’s technique to create “The Method” but focused on the psychological aspects. The approach is for actors to evoke their own applicable experiences in order to bring them closer to those of their character, which Strasberg called “emotion memory.” Lee Strasberg’s actors intensify their connections to the work by mimicking characters’ experiences within the context of their own (real) lives, and reaching deeper connections and understandings of their characters’ emotional worlds. METHOD ACTING: STELLA ADLER Stella Adler also worked with and expanded upon Stanislavski’s method, though she stringently opposed the idea of drudging up past experiences for the sake of acting, deeming it unhealthy. Rather, she created a system that revolves around the development of independent actors, the power of the imagination, the importance of action, script interpretation, and the cultivation of a rich humanity. Stella Adler’s approach is also built on that of Stanislavski, but imagination is emphasized over emotional recall; in her words, “You have to get beyond your own precious inner experiences.” METHOD ACTING: MEISNER Developed by Sanford Meisner, the Meisner technique, too, builds on Stanislavski. -
Susanna Gellert 817 Powers Street, Baltimore, MD 21211 • 110 Riverside Drive (Apt 14A), NY, NY 10024 • 646-319-4051 • [email protected]
Susanna Gellert 817 Powers Street, Baltimore, MD 21211 • 110 Riverside Drive (apt 14A), NY, NY 10024 www.wingspace.com/susanna • 646-319-4051 • [email protected] PROFESSIONAL DIRECTING CRIMES OF THE HEART by Beth Henley Everyman Theatre 2014 THE CLAIRE PLAY by Reina Hardy NNPN/ The Kennedy Center 2013 MUD BLUE SKY by Marisa Wegryzn Center Stage Baltimore 2013 THREE PLAYS (workshop) by Thomas Bradshaw Center Stage Baltimore 2013 MY AMERICA (Premiere Event) by Various Center Stage Baltimore 2012 THIS IS MY OFFICE (workshop) by Andy Bragen 24/7 Lab 2010 BAR JOKE (with Dylan McCullough) by S. Allingham (also adapted) Old American Can Factory 2010 OPEN THE DARK DOOR by David Nugent NY Music Theater Festival 2009 THE CHORUS OF LOST PLACES by Lynn Rosen The Women’s Project 2009 III: FUGUE STATES (with Connor Kalista) by C. Kalista and Cara Francis The Human Company 2009 VISITING DAY (workshop) by Andy Bragen Sewanee Writers Conference 2009 THE BOSS IN THE SATIN KIMONO by Blake Hackler New York Int’l Fringe Festival 2008 THE LACY PROJECT by Alena Smith Soho Think Tank Ice Factory 2007 TWO LITTLE ANGELS by Justin Deabler EST Youngblood 2007 THE DUCHESS OF MALFI by John Webster Studio 111 2007 LAYLA & MAJNUN (workshop) by Nastaran Ahmadi Lark Play Development Center 2006 TUESDAYS & SUNDAYS by Arnold & Hahn Woodstock Fringe 2005 INSIDE by Maeterlinck (also adapted) American Living Room 2003 MATCH OR SPOOKY ACTION by Stephanie Fleischmann Lincoln Center Director’s Lab 2002 VALKYRIE by Wagner (also adapted) Target Margin Theater Lab 2002 JOE WHYTE’S NEBRASKOBLIVION by Chris Conry I-80 Drama Co.