This class applies the definition of acting as “behaving truthfully under imaginary circumstances” to the stage combat world. You must have the skills to tell the physical story with as much accuracy and commitment as you bring to the spoken word. You must be able to meld truthful emotional life with a performance that remains collaborative, repeatable and safe. You will learn advanced hand to hand and grappling techniques, and should time allow, knife and sword work for the stage. With the instructor’s’ guidance you will learn the process of crafting your own staged fights.

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• Registration Prerequisite: Open to all.

A combined-level class for actors at level 1 and level 2. Scenes are presented in class for critique, then reworked to explore and apply feedback. Actors at Level 1: For those at the beginning of their acting training, this class will be an introduction to the process of preparing and rehearsing a scripted text. You will work to find authentic inner connection to the character’s details and circumstances and to choose truthful, effective and lively actions. Actors at Level 2: For those at the intermediate level 2, you apply the lessons of Acting 1 and 2 to the preparation, rehearsal, and presentation of scenes from contemporary realist plays (mid-20th century to present). Technique exercises may be introduced diagnostically to address problems as they arise. A commitment to rehearse with partners outside of class is required.

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• Prerequisite: Open to all. 

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.

In Scene Study 2, you will apply the lessons of Acting 1 and 2 to the preparation, rehearsal, and presentation of scenes, focusing on contemporary realist plays (mid-20th century to present). Scenes are presented in class for critique, then reworked to explore and apply feedback. Technique exercises may be introduced diagnostically to address problems as they arise.

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• Prerequisite: Open to Acting Level 2 and up. New to HB? Submit online for level placement.

The Alexander Technique is a gentle method through which you gradually learn to free yourself from unconscious physical habits that limit your ease, versatility, and freedom. This course will inquire into and enhance your “body map” – your conception of your body, as a whole and in specific areas. As you learn to release the downward pressure of your head to your spine, become clearer about your joints and how they work, and understand the unity of your body/mind and how it functions as a whole, you will gain access to an ever-increasing sensory awareness. Bringing conscious thought and awareness to daily life will allow you to change the habitual behavior that creates unneeded tension. Posture and self-use become conscious and volitional, not habitual and rigid. This translates to a greater possibility of fully embodying characters whose physical life is different from your own while maintaining healthy use of your body. Natural free use of the breath is addressed as a result of freeing the whole self, supporting your voice work.

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• Recommended reading: BODY LEARNING by Michael Gelb.
• Prerequisite: Open to All

The Playwright and the Actor: Anton Chekhov and his Nephew Michael Chekhov. This class explores transformation through the creation of Chekhovian characters using Michael Chekhov’s psycho-physical approach from To the Actor. Students will work with monologues from Anton Chekhov’s plays and short stories, expanding their repertoire with classical material. Training includes movement-based warm-ups and techniques such as Loyd Williamson’s Physical Process of Acting, Eight RASA Emotions, and the Six Viewpoints, helping actors develop physical freedom, expressive range, and deeper connection to inner life and ensemble work. We will also explore Chekhov’s tools for character and atmosphere—personal atmospheres, centers, imaginary body, and archetypes—leading to psychological gesture and transformation. Period style will be incorporated through movement, manners, costume, and character conditions to ground the work in its historical context.

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• Registration Prerequisite: Open to all.

This scene study class is designed for a group of intermediate and advanced students who come together from diverse and/or international backgrounds. As the world changes, the stories we tell as artists change with it, and the training of new actors must reflect this new landscape. In this class, students only work on scenes pulled from new plays (already written or currently being developed) by some working writers today. Students are also encouraged to work on scenes of their choice from plays that they feel reflect who they are in today’s world. This class is meant to complement traditional training in classical and contemporary plays by inviting the actors to experience their full cultural self in plays they see themselves in. How can we as diverse actors develop our craft and face the challenges of working on new plays all while cementing our belief in our place in the industry?

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• Prerequisite: Open to Acting Level 2 and up. New to HB? Submit online for level placement.

Singing Voice 2 is for you if you have some foundation in singing technique, having developed a connection of the voice to the breath, a practiced and heightened listening ability, a sense of phrasing and an ability to practice on your own. Class work will continue to develop singing technique and musicianship, with exercises to support the development of vocal control, flexibility and range. You will be asked to treat the song lyric as text not unlike that of a script, toward the goal of memorized presentation and interpretation of the song. (Accompanist provided.)

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• Registration Prerequisite: Open to Singing Level 2 and up. New to HB? Audition or submit online for level placement.