PATRICIA NOWOROL [email protected] Choreographer, Dancer, Teacher
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PGIP Programme in Detail Rev 3 20
!1 of !6 Giles Foreman Centre" for Acting A LEADING PROFESSIONAL ACTING STUDIO, "BASED IN THE HEART OF SOHO " " " ACTOR TRAINING | FILM & TV PRODUCTION | CORPORATE" COMMUNICATION LONDON | NEW" YORK | PARIS "" What" makes the GFCA 16-month advanced Professional Intensive " Acting/Acting-Directing Programme unique? Our Advanced course is equivalent in level to Post Graduate study. However, the training is designed for those creative individuals - from any background - who have the capacity, ability and motivation to enter the Industry. The programme involves 30+ hours of intensive classes and rehearsal exercises per week, taught by top- level specialist coaches, each with extensive professional experience. There are in-house showings throughout the course, and plays are presented to the public and Industry during the final two terms. During the final term, as well as advanced-level classes, students may join the Spotlight Casting Graduate scheme; scenes are filmed for showreel, there are Industry events, and a range of further performance opportunities. These continue after the conclusion of the formal training. We take only a single cohort of Intensive-Route acting students each year, to provide a focussed training designed to bring out individual strengths, and we welcome applications from people from a wide variety of previous backgrounds and experience. The programme is tailored towards the unique mix of talent drawn to our centrally-located Studio from across the UK, Europe and beyond. We have excellent links with UK and European Casting Directors, as well as a base in New York, and ofer many opportunities to showcase talent to European casting directors, largely due to the strong connections formed by our Director, Giles Foreman and his extensive work as a film acting-coach. -
BACKSTORY: the CREDITS an Actor
BACKSTORY Your behind-the-scenes look at TimeLine productions YESTERDAY’S STORIES. TODAY’S TOPICS. From Artistic Director PJ Powers a message Dear Friends, that their “Person of the — can influence history is made With his blend of social classic for the ages. You just Year” was You. Me. Us. The through activism, be On behalf of TimeLine’s not only in commentary and might be surprised that the average citizen. it personal, social or entire company, I am government emotional complexity, age in which it was written political. thrilled to welcome you to Admittedly, upon first buildings and Odets revolutionized the really is not our own! our 11th season! Each year hearing that, I thought There are many complex at corporate American theater during As we usher in a second we go through a series of it was a poor excuse for issues — not the least of board tables, but in the The Depression by putting decade of making history at discussions about the issues not choosing a person of which will be a Presidential homes and workplaces of the struggles and longings TimeLine, we’re delighted and types of stories we national prominence — a election — that will demand people like you and me. of everyday citizens on the to share another Odets stage. With Paradise Lost, want explore, and this year single someone who had great thoughtfulness in the We begin our season-long play with you. With much he gives voice to those our deliberations seemed made a sizeable imprint on coming year. Each of us will conversation by revisiting to discuss, I hope our little individuals and exposes a even more extensive and issues of global importance. -
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 -
Westfest Site Specific Bios
Peter Adams is a composer, producer, sound designer, and multi-Instrumentalist. Classically trained and unconfined by genre, Peter has produced two albums and numerous works for modern dance, film, theater, and television. His combination of traditional, sampled, and virtual instruments creates a wide spectrum of sounds, allowing for music both intimate and expansive. He has performed throughout the country, including with the Cincinnati Ballet, and has been critically acclaimed by Spin, Magnet, Performing Songwriter, and NPR. Jonathan Campbell received his B.F.A. from The Juilliard School in 2010 and Austin Diaz graduated from NYU's Tisch School of the Arts with a B.F.A in 2011. They both currently dance for Sidra Bell Dance New York. In August 2011, Campbell and Diaz co-founded MADboots dance co. Please visit www.madbootsdance.com and become a friend of MADboots! Emeri Fetzer is a dancer/choreographer and writer from SLC, Utah. After graduating from Goucher College, Emeri worked at Jacob's Pillow then moved to New York in 2011. Since, she was Company Manager for Jacoby & Pronk, contributor for Theater Development Fund, and is Managing Editor at DancePulp.com. She is thrilled to be debuting the first of many dance collaborations. Luke Folger began speaking the language of music from a young age in Washington and Montana, where his parents built strange new instruments from recycled materials, homemade speakers and audio gear, and brought him to weekend barter fair/drum circles in fields with colorful locals. High school marching drum corps, numerous punk rock bands, and a visual arts degree led him to join the music and arts community of NYC in 2007. -
Keigwin + Company
presents KEIGWIN + COMPANY LARRY KEIGWIN Artistic Director ANDREA LODICO WELSHONS Executive Director NICOLE WOLCOTT Co-Founder/Education Director BRANDON COURNAY Rehearsal Director & Company Manager RANDI RIVERA Production & Stage Manager DANCERS ZACKERY BETTY, KACIE BOBLITT, BRANDON COURNAY, KILE HOTCHKISS, GINA IANNI, EMILY SCHOEN, JACLYN WALSH, NICOLE WOLCOTT 1 KEIGWIN + COMPANY EPISODES (2014) LOVE SONGS (2006) CHOREOGRAPHY Larry Keigwin CHOREOGRAPHY Larry Keigwin with the Company LIGHTING DESIGN Burke Wilmore LIGHTING DESIGN Burke Wilmore COSTUMES Sarah Laux COSTUMES Fritz Masten MUSIC On the Town – Three Dance Episodes, Leonard Bernstein MUSIC Roy Orbison “Blue Bayou” and “Crying” DANCERS Zackery Betty, Kacie Boblitt / Gina DANCERS Emily Schoen & Brandon Cournay Ianni*, Brandon Cournay, Kile Hotchkiss, Emily UNDERSTUDY Gina Ianni Schoen, Jaclyn Walsh MUSIC Aretha Franklin “Baby, I Love You” and “I Episodes was commissioned by the John F. Never Loved a Man (The Way I Love You)” Kennedy Center for the Performing Arts and DANCERS Jaclyn Walsh & Zackery Betty the National Symphony Orchestra, Christoph Eschenbach, Music Director, as part of the 2014 MUSIC Nina Simone “Ne Me Quitte Pas” NEW Moves: Symphony + Dance. and “I Put a Spell on You” *alternating cast DANCERS Nicole Wolcott & Larry Keigwin Love Songs was created in part with generous CONTACT SPORT (2012) support from The Greenwall Foundation. CHOREOGRAPHY Larry Keigwin MUSIC “Monotonous,” Lyrics by June Carroll & TRIPTYCH (2009) Music by Arthur Siegel; Performed by Eartha CHOREOGRAPHY -
Artist Bios and Piece Descriptions
1 PERFORMANCE MIX ARTISTS 2013:BIOGRAPHIES Renée Archibald presents Shake Shake, a duet that brings new life to the old cliché of the dancer’s body as instrument. The work investigates sound as a kinetic sense, with rhythm accumulating and dissolving into sempiternal metabolic process and tumbling into finely-tuned cacophony that animates the performance space with lush visual noise. Shake Shake is performed by Jennifer Lafferty and Renée Archibald. Archibald is currently a third year MFA candidate and Teaching Assistant in The Department of Dance at the University of Illinois. After receiving a BFA from University of North Carolina School of the Arts, Archibald lived in New York City for ten years where she performed with independent artists including Christopher Williams, Ann Liv Young, and Rebecca Lazier. Her choreographic work has been presented at NY venues including The Brooklyn Museum, The Chocolate Factory, Danspace Project, Dance Theater Workshop, and The Kitchen. Archibald has taught at Barnard College and White Mountain Summer Dance Festival and has received choreographic residencies through the Brooklyn Arts Exchange, Movement Research, and Yaddo. In 2012, she was awarded the U of Dance Department's Vannie L. Sheiry Memorial Scholarship for outstanding performance. vimeo.com/reneearchibald Oren Barnoy presents Angels My House I Promise. Barnoy dives into an unknown world of dance while investigating not knowing. This experience of dancing is somewhere between ritual, improvisation, score, therapy, and set choreography. It produces itself. Barnoy showed his choreography between 2000-2004 at Joyce SoHo, PS1, Dancenow, Galapagos, WAX. In 2005, Barnoy took a four year break from dance and moved to Miami. -
Teaching Resume
RYAN LEE RL THEATRE EDUCATOR WWW.RYANLEETHEATRE.COM OVERVIEW TEACHING PHILOSOPHY Expertise in all aspects of No matter what age or skill level, I approach the student with teaching and coaching acting respect, professionalism, and a gentle hand, which establishes a and performance for theatre, safe environment where creativity and exploration can flourish. film, and television, assisted I find that acting is most interesting when we bring our own lives college applicants with and experience to the work. We then bring to the material truth, university theatre program originality, joy, and honesty that is exciting for both performer to auditions, aspiring child audience to experience. actors ages 9 and up, as well as classes just for fun at every level – from beginning to TEACHING ENVIRONMENTS professional. Teaching environments have included: - University Adjunct Professor - Private Coaching - Professional Acting School - Teaching Artist - Master Class Lecturer - Artistic Director of Theatre Education Program [email protected] 323.972.7533 WORK EXPERIENCE TEACHING ARTIST • QUEENS THEATER • NEW YORK, NY • 2006 – 2018 - Through writing and acting exercises, taught students to create and perform an original play - Created and maintained a curriculum and lesson plan for a twenty-session theatre residency TEACHING ARTIST • LEAP • NEW YORK, NY •2010 – 2018 - Classes including test taking skills, music, playwriting, and theater in over thirty NYC schools ARTISTIC DIRECTOR • LEAP • NEW YORK, NY •2006 – 2010 - Oversaw and maintained the production -
All of the Apple Is Me: Process Work & Acting an Exploration & Practical Guide
All of the Apple is Me: Process Work & Acting An Exploration & Practical Guide Lisa Blair September 27, 2009 Process Work Institute Submitted in partial fulfillment of the Master of Arts in Process Work and the Diploma in Process Work All content and exercises are meant for individual use only and should not be duplicated or distributed for classroom or other use. Please do not make partial or complete copies of this manuscript without permission by the author. Copyright © 2009 2 If I compare myself to a large, meaty, round apple, I discover that my inner and outer cliché image of myself is only a wedge of it – possibly the wedge with the rosy cheek on the skin. But I have to become aware of myself as the total apple – the firm inner flesh as well as the brown rotten spot, the stem, the seeds, the core. All of the apple is me. ‐ Uta Hagen, Respect for Acting 3 4 Table of Contents Acknowledgements............................................................... 7 Introduction .......................................................................... 9 Act I: Acting Techniques for the Actor A Brief Overview of Theories of Acting................................. 23 Actor Preparation.................................................................. 43 Act II: Process Work Techniques for the Actor Identity.................................................................................. 51 Edgework .............................................................................. 57 The Killer .............................................................................. -
At the Core of the Strasberg Curriculum Are the Method Acting Classes
SPRING 2020 CLASSES METHOD ACTING At the core of the Strasberg curriculum are the Method Acting classes. Students are required to take two Method Acting classes per semester, each with a different teacher. These classes are designed to train the actor in Lee Strasberg’s systematic approach to acting known throughout the world as The Method. The technique develops the actor’s ability to respond with real behavior to imaginary stimuli and trains the actor to use their personal experience to fire their imagination. These four-hour classes are divided into two parts: work on one’s self and work on the character. The work one’s self employs Lee Strasberg’s relaxation and sensory exercises to train the actor’s concentration, and eliminate the actor’s individual habits of mental and physical tension, which limit their ability to express. The relaxation is repeated in every class, building over the course of study a keen awareness of one’s body and the ability to relax at will. Sensory exercises are also done each class, but become more complicated throughout the course of study. Sensory work begins with recreating ordinary objects and sensations using the five senses and moves towards more emotional stimuli. This part of class focuses on training an actor’s talent. The second part of class focuses on applying the exercises to scenework and learning how the sensory can help fulfill the demands placed upon the actor by a particular script. Students use the exercises to create organic behavior, make truthful choices, and also learn the way in which improvisation can be used to explore a character’s motivation and deepen one’s understand of the character and scene. -
An Actor Remembers: Memory's Role in the Training of the United States
An Actor Remembers: Memory’s Role in the Training of the United States Actor by Devin E. Malcolm B.A. in The Human Drama, Juniata College, 1997 M.A. in Theatre, Villanova University, 2002 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Theatre History and Performance Studies University of Pittsburgh 2012 UNIVERSITY OF PITTSBURGH Dietrich School of Arts and Sciences This dissertation was presented by Devin E. Malcolm It was defended on November, 5th 2012 and approved by Kathleen George, PhD, Theatre Arts Bruce McConachie, PhD, Theatre Arts Edouard Machery, PhD, History and Philosophy of Science Dissertation Advisor: Attilio Favorini, PhD, Theatre Arts ii Copyright © by Devin E. Malcolm 2012 iii AN ACTOR REMEMBERS: MEMORY’S ROLE IN THE TRAINING OF THE UNITED STATES ACTOR Devin E. Malcolm, PhD University of Pittsburgh, 2012 This dissertation examines the different ways actor training techniques in the United States have conceived of and utilized the actor’s memory as a means of inspiring the actor’s performance. The training techniques examined are those devised and taught by Lee Strasberg, Stella Adler, Joseph Chaikin, Stephen Wangh and Anne Bogart and Tina Landau. As I shall illustrate, memory is not the unified phenomenon that we often think and experience it to be. The most current research supports the hypothesis that the human memory is composed of five distinctly different, yet interrelated systems. Of these five my research focuses on three: episodic, semantic, and procedural. -
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. -
2000 M.F.A., Scenic Design, Yale School of Drama 1995 B.S., Theater, Northwestern University
102 Monroe Street office: 212-618-6106 www.lukecantarella.com Brooklyn, NY 11216 mobile: 646-263-4989 e-mail: [email protected] or [email protected] education: 2000 M.F.A., Scenic Design, Yale School of Drama 1995 B.S., Theater, Northwestern University other training: School of the Art Institute, Art Students League, The Drawing Center, Columbia University (Summer Intensive in German) teaching: 2012-present Associate Professor/Pace University Head of Set Design (2013-present): Responsibilities include undergraduate teaching, course development, mentoring student designers, 1st year student advisement Head of Production and Design (2012-2013): Responsibilities include undergraduate teaching, establishing a curriculum for new BFA program in Production & Design, recruiting and retaining students, hiring and mentoring new faculty, student mentorship, production planning and budgeting. 2008-12 Assistant Professor/University of California, Irvine Head of Set Design Program: Responsibilities include teaching both graduate and undergraduate courses, curriculum design, recruiting and retaining students, mentorship, thesis reviews, production planning and budgeting scenic design: # 2015 Auctioning the Ainsleys, directed by Abigail Adams, People’s Light 56 Ted’s Talk, created and directed by David Strassman, Australian Tour 55 Good People, directed by Rob Ruggiero, TheaterWorks 54 Junie B. Jones: Essential Survival Guide to School, directed by Peter Flynn, Theaterworks USA 53 Woody Sez, directed by Nick Corley, Asolo Repertory Theater 52 The Silo Mervin vs. Butter Miriam Bible Match, directed by Sarah Krohn, Studio 42 50 2014 Fractalicious!, directed and created by Bryan Reynolds 49 Transversal Theater– 2014 Interference Festival, Cluj, Romania The Light in the Piazza, directed by Victoria Clark, Pace Performing Arts 48 Row After Row, directed by David Bradley, People’s Light 47 Woody Sez, directed by Nick Corley, People’s Light, TheaterWorks 45 The Other Place, directed by Rob Ruggiero, 44 The Repertory Theater of St.