In this workshop, we will explore the fundamental tools and concepts necessary for rehearsing and performing a Shakespeare play. We will begin with two assumptions. First, even if you don’t realize it, you already have everything you need to perform Shakespeare. And second, the best way to understand Shakespeare’s work is to engage with the text actively. His work is meant to be spoken out loud, shared, and performed. His language cries out to exist in the here and now, and an actor’s job is to bring these words out into this moment and time. We will explore a series of speeches and scenes as a group, utilizing the tools that allow an actor to unlock the text and take ownership over the language. Each actor will also be invited to bring in a speech of their own to work on individually in front of the group. Finally, we will spend some time exploring how these tools can be applied to any text, classical or contemporary. By the end of this workshop you will have gained practical experience working on heightened language, a basic understanding of an actor’s main tools for rehearsing Shakespeare’s plays, including use of iambic pentameter, scansion, melody, rhythm, antithesis, pitch, and operative words, and begun the foundational work on a new classical monologue to add to your repertoire. An exciting speech coming from a place of personal truth. For the First Day of Class: Bring a speech that you want to work on from any Shakespeare play. Please be sure to read the full play.

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• Prerequisite: Open to all levels, but prior acting training or experience is required.

Body Intelligence focuses on developing the physical and emotional intelligence of the actor. Class utilizes Allan Wayne Work exercises to build physical and mental stamina. These repetitive, circular exercises condition the muscles and break up fascial adhesions while unveiling emotional availability, eroding habitual tension and preventing injury. There are guided creative movement explorations, ensemble, partner and solo work that allow the actor to fully experience moving from their body’s impulses as opposed to being ‘in their head’ to make choices. The focus on embodiment work leads the actor to greater emotional access and safety. Class references concepts from Alexander Technique, Fitzmaurice vocal technique, integral anatomy, Lucid Body, meditation and modern dance.

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• Prerequisite: Open to all.

The Method of Etudes, developed by Konstantin Stanislavsky, helps you to improve your ability as an actor to be in the moment on stage, using your impulses, images and words. You will develop acting technique through the practice of independent work, or etudes (meaning” study” in French, widely used in music and art). You will learn how to be yourself in imaginary circumstances, how to observe, select and recreate life around you. This workshop will help you discover your inner emotional life and physical awareness, awake your creativity, and develop your skills as an actor. An actor without imagination is an empty vessel. Creativity and imagination come from evoking your inner potentials, observing life around you, finding magic in simple things, and bringing them to life through your point of view! Classes will start with a warm up. Please wear comfortable clothes and be ready to move and enjoy the process of discovery.

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• Registration Prerequisite: Open to all.

Weapons training for actors. Learn how to sword fight for stage and screen. Practice safety protocols for working with prop guns on set. Expand your special skills as an actor training with the Sordelet, Inc. team, who bring decades of experience and expertise in the field of safely creating extraordinary fight scenes with weapons.

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• Registration Prerequisite: Some stage combat experience recommended but not required.

In a climate when many acting classes are focused on performing, this workshop is focused on Being. It is deceptively simple, but only something we can learn by doing, and by watching and listening to each other. This workshop, geared towards actors with some prior acting experience, is designed to help you learn and refine on-camera skills in a supportive and exciting environment. First day on set? Don’t worry – We got you covered. Making the move to on-camera acting is a big challenge. If you’re new to film or TV (or if it’s been a few years), the set can be intimidating and very confusing. What you’ve experienced in rehearsal and on stage won’t prepare you for the technical challenges of on-screen performance. And when you get that first on- camera job, no one is there to guide you through it. Until now. Being on Camera is presented by two acclaimed actors each with 20 plus years experience on stage and on both sides of the camera. It is an intensive immersion into the practical, nuts & bolts work of on-screen acting. Through discussion and on-camera exercises we’ll explore basic film techniques and cover all fundamentals that go into realizing a filmed scene.

• Learn more about the instructors: Amelia Campbell & Anthony Arkin
• Prerequisite: Previous experience acting on-camera is required, such as prior enrollment in Being on Camera 1, Acting with the Camera 1, or equivalent.

The extremely practical acting exercises found in Uta Hagen’s world-famous books, Respect for Acting and A Challenge for the Actor, probe the depths and heights of human behavior. They offer the actor a structure for lifelong practice exploring the dynamic interaction between sensory/emotional experience and the creative imagination. Uta Hagen’s approach to acting works. She challenges the actor to develop skills continually. She offers avenues of creativity that, with an open imagination and expanding sense of self, are unlimited. Her ongoing process of self-observation and self-discovery fortifies your ability to respond truthfully, dynamically, and vividly with fellow actors, releasing unpremeditated truthful behavior in performance. Over time, you find yourself creatively alive and present in the process. Taught by Kelly Wolf, who trained directly with Uta Hagen. Held at HB Studio, the birthplace of the Hagen exercises.

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• Required Reading: A Challenge for the Actor by Uta Hagen.
• Prerequisite: Open to all. 

Explore the powerful world of two-time Pulitzer Prize-winning playwright Lynn Nottage through scene work drawn from SWEAT and CLYDE'S. Led by actor Reza Salazar, who performed in both original productions, this class gives actors firsthand insight into Nottage’s richly textured language, complex characters, and social urgency. The work emphasizes authenticity, emotional truth, and deeply grounded contemporary performance.

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• Prerequisite: Open to all. 

Voice Over director Theresa Buchheister has directed and sound-engineered 100s of audiobooks, including How Music Works with Andrew Garman, The Perks of Being a Wallflower with Noah Galvin, Leaving the Sea with Brian Hutchison, Lydia Davis Collected Stories with a variety of actors, Wild Boys with Luis Moreno, and many, many more. Theresa has narrated (under their name and a pseudonym) over 50 books, including erotica, young adult and educational texts. Over the course of this workshop, Theresa will introduce you to the basic skills and valuable practices of audiobook voiceover performance. First, we will start at the very beginning: genre differences, preparation questions, common terms, valuable warm-ups and tricks, differentiation from other areas of voice acting, what your voice is best suited to, focus and clarity, and more. Next, we will put these into practice: subtle shifts in vocal characterization, flow and breath, dialogue pacing, tonal qualities within genres. You will be sent away with homework – selecting books that are a good fit for your voice – and you will have the opportunity to perform an in-class, expanded audition. We will start and stop, make adjustments, and get a clean take of your pieces.

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• Registration Prerequisite: Open to all.