R 4-Week Acting Intensive Training in NYC!

Giles Foreman Centre for Acting “Learn American acting with great American coaches, in NYC!”

A LEADING PROFESSIONAL ACTING STUDIO 4-WEEK ACTING INTENSIVE TRAINING IN NEW YORK LONDON | NEW YORK | PARIS 4 weeks from 5th - 30th June 2017 ACTOR TRAINING | FILM & TV PRODUCTION | CORPORATE COMMUNICATION Spend the month of June studying in the vibrant heart of the New York City theatre district, Times Square in Manhattan; and experience an amazing, intense and rewarding 4-week training hosted by GFCA New York - with a team of expert industry coaches (for biographies see p2). Each week includes 30 hours of study, Monday to Saturday 10 - 5 pm: • Meisner Method - Matt Corozine • Strasberg Technique - Roberta Wallach • Uta Hagen Technique - Carol Rosenfeld • Period Styles - Janice Orlandi • Viewpoints • Michael Chekhov - Janice Orlandi • Williamson Technique - Janice Orlandi • Fitzmaurice Voice • Standard American-English accent • On-Camera / Commercial - Gregory Burger-Sobeck Plus, for visitors to New York, there are options for organised sightseeing trips to major locations including the Guggenheim Museum, Rockefeller Centre, Empire State building, the Statue of Liberty, Broadway productions, amongst many other attractions! Accommodation*: if you wish, you are welcome to arrange your own via Airbnb or similar: preferably within 20-30 minutes travel by Subway/Underground to W 43rd St and 8th Ave in Midtown Manhattan, near 42nd St / Port Authority, Times Sq - 42nd St, 50th St - 1 train. * Special offer: residential housing in Manhattan available - please contact us for further details! Tuition fee** total: USA $2350 NB! “early-bird” discount: only $1950, if you confirm with $500 deposit by 8 April! Euro €2250 or with “early-bird” discount: only €1850 UK £1900 or with “early-bird” discount: only £1600 25% deposit by 8 May 2017, to confirm your place. ** Travel, accommodation, and sightseeing fees are not included above. Costs will vary according to individual preference, but please ask us for guideline figures. Promoted by GFCA London, and hosted by GFCA NYC - for further information and specifics on any aspect please contact us! (biographies and subject-descriptions, please see overleaf)! www.gilesforeman.com [email protected] Tel: +44 (0)20 7437 3175 GILES FOREMAN CENTRE FOR ACTING [Caravanserai Productions Ltd t/a] STUDIO SOHO 2a Royalty Mews [entrance next to Quo Vadis], Dean Street W1D 3AR Registered ofce 2a Royalty Mews, Dean Street W1D 3AR Company No: 05645207 Tutors include (A - Z): Gregory Berger-Sobeck (On-Camera / Commercial Acting) Gregory is a graduate, and currently serving on the Acting Faculty, of the Yale School of Drama . Founded in 1998 by Gregory, Berg Studios is dedicated to cultivating your talent and imaginative work while focusing on building a repeatable technique. The foundation of its acting technique is twofold: illuminating subtext through script analysis and finding imaginative and spontaneous behavior. Students strive for authenticity and bold originality. The task moves from asking "How am I seen?" to "What do I see?" The Berg Studios’ approach attracts industry professionals who audit its classes to scout for talent, giving its students valuable industry contacts for professional growth. Matthew Corozine (Meisner method) Matthew was officially nominated for a 2015 Excellence in Theatre Education Tony Award®, a brand new honour presented by The Tony Awards® and Carnegie Mellon University; established “to celebrate the educators who transform lives through the power of the arts.” Matthew believes that you can create your own life. With this in mind (and heart), he created the Matthew Corozine Studio Theatre (MCS), a New York City-based acting studio rooted in the Meisner Technique. Since the year 2000, MCS has formed part of a vision Matthew has for his artistic community – to be working artists and have a home to build their craft – with honour and integrity. Matthew has taught acting at American Academy of Dramatic Arts NYC, and acting and improvisation at SUNY Purchase. Actors coached by Matthew are currently working on Broadway and in television and film, in both New York City and Los Angeles. Matthew has a BA in Theatre Arts, majoring in Acting and Directing, from SUNY at New Paltz, and continued his training in the Meisner Technique with the great Robert X. Modica at Carnegie Hall Studios in NYC. As an actor he has appeared in many commercials, NYC theatre productions, national tours, and independent films. As a director, Matthew directed The Boys Upstairs, and Miss Kim for FRINGEnyc, where both shows extended their runs in NYC. He directed the NYC and LA premieres of Susan E. Isaacs, based on her spiritual memoir, Angry Conversations With God. He has also guest directed at St. John’s University (Queens). Janice Orlandi (Period Styles, Michael Chekhov, Williamson Technique) Janice has taught for over eighteen years in educational institutions in the United States and Europe, including Ira Brind School of the Arts, Mason Gross School of the Arts, Williamstown Theatre Festival, de Lindenberg Centrum Voor de Kunsten, Netherlands, State Theatre School in Odense, Denmark, Ophelia Theatre School in Copenhagen, NY Conservatory for Dramatic Arts, and the School for Film and Television, New York City. She has served as a movement, character, and period style coach for The Mirror Repertory Company, Sonnet Rep, Players Theater, and for University of the Arts. Janice has produced and collaborated in joint workshops internationally with Master Teachers in both New and Primary movement pedagogies. She is currently completing a book entitled Movement Marathons: Crossing Pedagogy© which explores exercises, practices, vocabulary, affinities, and cross training of five movement methods and pedagogy: Michael Chekhov, Viewpoints, Laban, and the Williamson Technique. A founding member of Echo Repertory Company, Janice produced and adapted new plays, including The Triangle Factory Fire Project (a tribute to the women who survived the Triangle Factory Fire of 1911). She is also a founding member of Expanded Arts Theater Company, New York City, and a member of the National Association of Movement Educators.

www.gilesforeman.com [email protected] Tel: +44 (0)20 7437 3175 GILES FOREMAN CENTRE FOR ACTING [Caravanserai Productions Ltd t/a] STUDIO SOHO 2a Royalty Mews [entrance next to Quo Vadis], Dean Street W1D 3AR Registered ofce 2a Royalty Mews, Dean Street W1D 3AR Company No: 05645207 Carol Rosenfeld Carol began teaching at HB Studio, New York, 50 years ago, working alongside two of the greatest acting teachers of the 20th Century, Uta Hagen and Herbert Berghof. “Uta and Herbert embraced me, saw my talent and nurtured it. I entered an environment in which artistic freedom flourished, where respect for the art of acting was assumed; I was given the space to find my own way as a teaching artist. I love the work and everything about it.” – Carol Rosenfeld Carol’s teaching experience includes: HB Studio - where the legacy, values and principals of its founding members continues. There she created the Hagen Institute’s Six Week Summer Intensive, Core One Year Training and the Hagen Teacher Training Lab and served as the first Director of The Hagen Institute 2010-2014. As a Fulbright Specialist: she taught workshops for La Escuela del Actor in Montevideo, Uruguay and the Polish National Film School in Lodz. Master Classes: Montreal, Vancouver, Toronto, Winnipeg, Halifax, Calgary, Copenhagen, Barcelona, London and Melbourne, Australia. Rutgers (New Brunswick), The National Theatre of the Deaf, The National Theatre School of Canada, The Shaw Festival (Niagara on the Lake). Carol also authored her widely recognised Actor’s Workbook; Acting and Living in Discovery as well as the Hagen Technique chapter in Training for the American Actor. Roberta Wallach (Strasberg Technique) Roberta made her professional acting debut at 16 in the film version of The Effect Of Gamma-Rays On Man-In-The-Moon Marigolds opposite Joanne Woodward and directed by Paul Newman. She studied acting at the Neighborhood Playhouse, at HB Studios with Herbert Berghof and Uta Hagen, Lee Strasberg, Robert Lewis, Susan Batson, Gary Austin, Sonda Seacat and Elizabeth Kemp. She became a member of The Actors Studio in 1980. She started teaching privately, then at the New York Film Academy, Black Nexxus, HB Studios, at Yoko Narahashi’s school, UPS (United Performer’s Studio) in Tokyo and is now teaching in New York at The Strasberg Institute. As an actor, she has worked on the big and small screens and on stage with such extraordinary artists as Bette Davis, Ruth Gordon and Garson Kanin, Susan Batson, Shelley Winters, Arthur Penn, Anne Jackson and Eli Wallach, Tony Danza, Frank Corsaro, James Gandolfini, Brian Murray, Eileen Heckert, Kate Valk, Anne Meara, Doug Hughes, Elizabeth Franz, Lynn Cohen, Melanie Mayron and Robert Glaudini, among others. Roberta appeared in the films Rabbit Hole with Nicole Kidman and Aaron Eckhart; Boy Wonder; That’s What She Told Me (shown at the New York International Film Festival) and Last I Heard, starring Paul Sorvino, Michael Rappaport and Paul Ben Victor. Subject information Viewpoints is a technique of composition that provides a vocabulary for thinking about and acting upon movement and gesture. It was riginally developed in the 1970s by choreographer Mary Overlie as a method of movement improvisation, presence and awareness training, both of an ensemble and its individual performers. SYSTEMS is a mnemonic device for the six elements of Overlie's viewpoints - the actual acronym is SSTEMS: Space, Shape, Time, Emotion, Movement, Story - and also signifies the elements Mary Overlie considered the most important. This was a change from the classical and modern periods in performance art, where story always took precedence over the other elements. Viewpoints is part of the post-modern tradition, in that there is no hierarchy in the different elements that make "theatre." Viewpoints is a method for actor training that is best experienced rather than verbalised, and is meant to encourage more risk-taking and bolder choices in acting, so as not to be confined by any particular expectations or a strict process. Through the improvised exploration of Viewpoints, artistic discovery and visceral creative invention arises.