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

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.

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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.

The Lucid Body is a psycho-physical process that offers a new insight into character diagnosis and embodiment. The actor is offered a way to embody the given circumstances of a character with a deep visceral truth by rearranging the energy in your own body. Holistic acting means that the act of acting is a benefit to your system, not a drain. Lucid Body is a holistic training, based on the belief that self-knowledge is the most important ingredient to your acting. Using Carl Jung’s theories of persona and shadow, we will start with understanding why we are the way we are. Then we will bring this understanding of our own humanity to the characters that seem the farthest away from ourselves.

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• Registration Prerequisite: Open to all actors who have prior actor training or experience.

In this 4-session movement course for actors, we explore the creation of a character with physical conditions, altered states and impediments, such as: cold, hot, sleepy, drunk or drugged. Referencing both Uta Hagen’s and Loyd Williamson's exercises for “Altered States,” we practice how the body processes experience through the five senses into truthful behavior, while exploring circumstances and relationships of the imaginary world. Through this work, you develop a responsive, emotionally available and vocally alive instrument. You will develop a character monologue, learning the changes in speech and physical qualities of a person who is drunk or drugged. We apply archetypal essences, qualities and atmospheres for activating the body in space, with a variety of ensemble building, storytelling and devising methods for finding gesture, action and story leading to devised, emotionally charged and atmospheric movement improvisations.

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• Prerequisite: Open to all.