The primary objective of this class is to free up the artist’s channel through intensive physical training. Think of it like the actor’s gym. Our work together happens under the notion that the body is a channel through which we process our experiences into motion and sound — whether that be through acting, filmmaking, writing, etc. When the channel is open, you learn to connect with and respond more spontaneously to an environment without tension or pushing. A large portion of the freeing-up process is psychological, which requires an understanding of and connection to your emotional and physical self. The mindfulness component of the movement work encourages you to be permissive with your habits, experiences and emotions as they develop in the body. However, this is never accomplished in a vacuum. The unique insight of this training is the necessity for you to be in contact in order for the work to take-hold. This happens through regularly practiced ensemble and partner exercises. The concept of “play,” begins to take hold, as you understand improvisational movement without tension or anxiety – working less cerebrally and more kinesthetically.

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• Registration Prerequisite: Open to all.

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.

We put a mask on to take a mask off… The mask is an incredible tool that reveals more than it conceals. Its ability to give the actor permission to “let themselves go” increases the opportunity to surprise oneself and ultimately ignite the viewer’s excitement for watching. This workshop will investigate half masks and their function in heightening and specifying the actor’s range of performance. We will look at aspects of how to play space to inform the inner life of the character as well as how to engage with other characters. A mask will strengthen spontaneity, listening, and presence; in a way it is a style of play that harks to playing dress up as a child. The more masks you put on, the more yourself you become.

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• Prerequisite: Open to all levels.

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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• Prerequisite: Open to All

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.

• Learn more about the instructor.
• Registration Prerequisite: Open to all.

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.

• Learn more about the instructor.
• Recommended reading: BODY LEARNING by Michael Gelb.
• Prerequisite: Open to All

Viewpoints is a dynamic, physical approach to actor training rooted in post-modern dance. Developed by Mary Overlie and expanded by Anne Bogart’s SITI Company, the technique breaks performance into key elements of time and space—initially Mary Overlie’s Six Viewpoints (Shape, Space, Time, Emotion, Movement, Story), later extended by Anne Bogart to Nine (Spatial Relationship, Kinesthetic Response, Shape, Gesture, Repetition, Architecture, Tempo, Duration, and Topography). This course uses movement improvisation, ensemble-building exercises, and composition techniques to explore Viewpoints as both a physical practice and a creative framework. Students will engage in solo and group work to build ensemble awareness, spontaneity, and theatrical invention. Through rigorous physical training and collaborative exploration, actors learn to create meaningfully in time and space, applying Viewpoints in rehearsal and devised performance. As a group, the class will create Viewpoint driven ensemble improvised events and compositions with text. Emphasis is placed on honest expression, creative risk-taking, and working as a cohesive ensemble.

• Learn more about the instructor.
• Registration Prerequisite: Open to all.

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.

• Learn more about the instructor.
• Prerequisite: Open to all.