The Actor Within: an Exploration of Present Moment Awareness in Business Presentations
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Voice Training and the Royal National Theatre Rena Cook
Spring 1999 165 Voice Training and the Royal National Theatre Rena Cook I stepped off the double-decker bus at Waterloo Station with my map in hand, walked several blocks and found the Old Vic quite easily. But the Royal National Theatre Studio, where the orientation was to take place, was nowhere in sight. "Next to the Old Vic," I had been told. With address and directions in my pocket, I surveyed the area as my internal compass spun out of control. After a brief moment of panic, I went to the box office and asked for help. "Out this door, two steps to your left and through the iron gate." I had traveled to London to participate in a course entitled "International Voice Intensive" with Patsy Rodenburg. As I walked up the steps of the studio on that chilly Sunday afternoon, with jet lag hanging heavily on my limbs, I had little idea that in my two weeks study I was about to experience a Zeitgeist of contemporary London theatre, training and practice. The focus was, of course, the voice work under the tutelage of master teacher Patsy Rodenburg, who currently heads the voice departments at the Royal National Theatre and Guildhall School of Music and Drama. In addition, the course participants were exposed to and interacted with some of the finest artists working in Western theatre today, including Trevor Nunn, Richard Eyre, and Judi Dench. Following each exhaustive day of study, workshop, and discussion, we attended theatre, viewing five of the six productions currently in repertory at the National. -
2016-17 Drama, Performance & Literary Studies
Drama, Performance 2016-17 & Literary Studies Tom Hiddleston as King Henry V and Benedict Cumberbatch as Richard III in The Hollow Crown Discover. Read. Listen. Watch. An award-winning digital library of 1,700 playtexts, 350 audio plays and 150 hours of video from leading theatre publishers and companies. OUR DYNAMICALLY EXPANDING CONTENT INCLUDES: VIDEO COLLECTIONS PLAYTEXTS FROM BLOOMSBURY METHUEN DRAMA, ARDEN SHAKESPEARE, FABER & FABER AND NICK HERN BOOKS • NEW! BBC Drama Films: fi lm adaptations of core curriculum plays from Sophocles, Anton Chekhov, Henrik Ibsen and Oscar Wilde alongside 1700 titles from over 300 leading playwrights: modern classics such as Copenhagen, by playwright Michael Frayn, David Mamet, Bertolt Brecht, Harold Pinter, Jez starring Daniel Craig. Butterworth, Caryl Churchill, Oscar Wilde, David Hare • NEW! The Hollow Crown Series 1 & 2: Shakespeare’s history plays and more . featuring a star-studded cast including: Benedict Cumberbatch, Ben NEW IN EARLY 2017! Playwrights Canada Press Whishaw, Judi Dench, Hugh Bonneville and Tom Hiddleston. Collection: almost 150 plays from established and • Shakespeare’s Globe on Screen: 21 stunning productions recorded live emerging Canadian playwrights including Daniel on stage with award-winning performances from leading actors including MacIvor, Hannah Moscovitch and Colleen Murphy. Mark Rylance. Forthcoming in 2017: 30 foreign language performances! fi lmed productions of key set plays Doctor Faustus, • Stage on Screen: HOW TO ORDER The School for Scandal, The Duchess of Malfi and Volpone. Drama Online offers collections on a subscription • Shakespeare in the Present: an acting masterclass with international or perpetual access basis. Free institutional trials voice coach Patsy Rodenburg, starring Joseph Fiennes. -
Pedagogy and Performing Shakespeare's Text: a Comparative Study
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2009 Pedagogy and Performing Shakespeare's Text: A Comparative Study Sally Southall Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1832 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Sally Parrish Southall 2009 All Rights Reserved 1 PEDAGOGY AND PERFORMING SHAKESPEARE’S TEXT: A COMPARATIVE STUDY By Sally Parrish Southall A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University Director: Dr. Noreen C. Barnes Director of Graduate Studies School of the Arts Virginia Commonwealth University Richmond, Virginia May 2009 2 ACKNOWLEDGMENTS This work, not only the thesis, but my graduate experience at VCU, has been an incredible journey for me on many levels. I was not alone along this path, and for that, I am immensely grateful. Without the tremendous support I received, I could not have accomplished what, for me, was an ambitious dream. Thanks to the gentle guidance and extraordinary wisdom of Noreen Barnes, I survived the trepidations of re-entry into academic study; I continue to be inspired by her patience, grace, and sensitivity when so much is required of her by so many. -
BDO Catalog Final 4 26.Indd
Image from Measure for Measure, Shakespeare’s Globe on Screen 2 (2016–2018) DRAMA ONLINE ABOUT DRAMA ONLINE Developed in partnership by Bloomsbury Publishing and Faber & Faber, Drama Online was created as a response to the need for a high-quality online research tool for drama and literature students, professors, and teachers. e award-winning digital library is a fast growing study resource which now features over 2,300 playtexts from 800 playwrights, almost 400 audio plays, 260 hours of video, and 300 scholarly books from leading theatre publishers and companies, o ering a complete multimedia experience of theatre. Designed to meet the full range of teaching and research needs, it is the only resource to combine exclusively available playtext content and scholarly publications with lmed live performances, lm adaptations, and audio plays. Individual collections can be purchased or subscribed to separately to tailor Drama Online to your institution’s needs. ABOUT BLOOMSBURY DIGITAL RESOURCES Bloomsbury Digital Resources provides creative online learning environments that support scholarly research and inspire students throughout the world. We seek to engage our users with academically rigorous, editorially cra ed content that encourages people to think and explore. We believe in working in partnership with librarians, researchers, and instructors to o er exible solutions and unparalleled customer support, and we strive to create a culture of excellence and entrepreneurial thinking that is solutions- focused and rewards innovation. TABLE -
How to Incite Audiences and Engage Actors: Environmental Theatre and the Second Circle
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 7-2012 How to Incite Audiences and Engage Actors: Environmental Theatre and the Second Circle Larissa Anne Kruesi College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Theatre and Performance Studies Commons Recommended Citation Kruesi, Larissa Anne, "How to Incite Audiences and Engage Actors: Environmental Theatre and the Second Circle" (2012). Undergraduate Honors Theses. Paper 535. https://scholarworks.wm.edu/honorstheses/535 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. 1 Table of Contents Abstract Page 2 Introduction Page 3 Chapter One: Page 7 An Introduction and History of Environmental Theatre Chapter Two: Page 27 The Community of Environmental Theatre Chapter Three: Page 46 Practical Application – Circle Mirror Transformation Chapter Four: Page 63 The View from Second Circle Conclusion Page 77 Appendix A Page 81 Appendix B Page 86 Appendix C Page 92 Bibliography Page 103 2 Abstract Environmental theatre removes many conventional expectations between actors and audience members and adds an element of surprise and unknown to a theatrical experience that affects all participants, whether they have rehearsed for two months or just joined the cast for that single night. Using scenic design to manipulate the audience, the director and actors are able to incorporate the audience into the performance, and immerse them into the action of the play. -
The Naked Voice
SPECIAL SECTION APPROACHES TO THEATRE TRAINING THE NAKED VOICE AN INTERVIEW BY RANDY GENER STUART ALLEN STUART FREE THE VOICE AND RELEASE THE BODY, PATSY RODENBURG SAYS, N A CRISP NOVEMBER DAY, PATSY RODENBURG polite, friendly and responsive language. Unlike the First Circle— Ogreets me in a rehearsal room at the Michael Howard Studios the realm of introspection, withdrawal and refl ection—the Third in Manhattan’s Chelsea with a charming Third Circle attentiveness attracts attention through bluff, charm or force. Habitual Third that masks an acute Second Circle energy. Circle persons can come off as arrogant, aloof, uncaring or overbear- Well-applied technique liberates actors, singers and performers— ing, because their “speaking imagination” is unfocused and effusive. and the same principle holds true even for Rodenburg, Britain’s most But Rodenburg makes a favorable fi rst impression in a Third Circle esteemed voice and acting coach. Proper voice work (or the lack of it), manner that would not be foreign to a star performer; she also knows she believes, can make or break a performer. “There are three circles that no one will hear what she means in the moment she speaks unless of concentration,” Rodenburg states in her seminal 2000 book The she delivers the words in Second Circle—and unless the person she Actor Speaks: Voice and the Performer (Palgrave Macmillan), “but the wants to communicate with is also in Second Circle. variants are infi nite and by no means rigid. As speakers, we exist in “In Second Circle, your energy is focused. It moves out toward one of these circles every moment of our lives.