Esta clase, dirigida en Español, consiste en un programa dinámico de 10 semanas dividido en dos partes de 5 semanas. La clase indagará en las aplicaciones prácticas de la técnica de Uta Hagen discutidas en su libro “Un reto para el actor”. Se usarán los ejercicios de Uta Hagen como herramienta para enfrentar retos y desbloquear el proceso de ensayo; y se pondrán en práctica mediante el trabajo de escenas, monólogos o soliloquios extraídos a partir de obras hispanas contemporáneas. A través del análisis de texto, trabajo de mesa, y ensayos guiados, se trabajará en conseguir una conexión auténtica con las circunstancias del personaje, escogiendo las acciones más honestas acordes con las circunstancias y buscando la organicidad y liberación de los impulsos. Las escenas se presentarán en clase, y luego se trabajarán y presentarán de nuevo para explorar y aplicar los comentarios recibidos. Se espera, por parte de los estudiantes, investigación extensa, preparación y ensayos fuera de la clase. El curso está abierto a la comunidad hispana así como a los actores cuya segunda lengua es el español y quieran usar sus habilidades lingüísticas a varios niveles, mejorando su habilidad para actuar en español.

• Aprende más sobre la instructora.
• Libro necesario para el curso: Uta Hagen: Un Reto Para El Actor (Artes Escénicas)
• Requisito previo: Esta clase está abierta a estudiantes de todos los niveles que hablen español de manera fluida.

For actors who have English as a second language. The question “How do I make these words my own?” is at the core of the actor’s craft. If you are speaking English as a second language, you may encounter additional stumbling blocks like getting stuck in “translator” mode, feeling emotionally disconnected from the language, and fearing being misunderstood. This course is designed to help you bridge the gap between the text and the self by unlocking the full expressive power of the language skills you already possess. The class guides you through activities to fully access your natural and learned language tools so that you can express yourself more freely, listen more intently and contribute more meaningfully in English. Voice and movement exercises will uncover the expressive musicality and physical experience of embodied language. Through text analysis, table reading, and guided rehearsal, you explore the vocabulary, grammar, subtext and context of a given script. The goal is to develop your language skills on multiple levels with a focus on improving your ability to perform in English. All of this serves the actor’s calling to make meaningful connections with others through collaborative dialogue.

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• Prerequisite: Prior completion of one full term (10 weeks) of Speech 1.

This class will give students the tools needed to read scripts with active curiosity, so that you can bring the script to life in unique and specific ways. Your enhanced understanding of the script will improve your performance. You will explore specific techniques that allow you to identify inciting events, main events, character relationships, themes and genre and all the particulars that make storytelling powerful and clear. The course begins with an introduction to the approach, followed by in-depth analysis of assigned scripts each week. We will be breaking down a screenplay, a play and a popular TV pilot together. You will each explore a character from each of the scripts, and perform excerpts from scripts and/or sides analyzed in this class.

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

Jessica Hecht leads this special 4-session scene and script analysis workshop. This workshop is for professional performers who desire to return to, or maintain an ongoing relationship with a dynamic and fertile state of learning. The goal: to use the specifics of language, action, subtext, circumstance, and relationships in order to connect with the work at the deepest most personal level. Note, this is not a performance oriented class, but rather a process oriented one. Our focus will be on script analysis, all text based, to figure out how the language works before we start ‘acting.’ Rather than gearing this class toward putting up a scene, we will work from the perspective of having rehearsal the next day for a workshop or reading.”

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• Prerequisite: Application required. Apply Online

Esta clase, impartida en español, es un curso de nivel combinado (Niveles 1 y 2). Está basada en la técnica de Uta Hagen y diseñada para guiar a los actores en el proceso de preparación y ensayo de textos dramáticos. A través del trabajo de escenas, monólogos y soliloquios, los estudiantes aplicarán los Seis Pasos de Hagen mientras fortalecen herramientas esenciales como objetos internos, sustituciones, transferencias, atribuciones sensoriales y el desarrollo del personajes. Los estudiantes trabajarán con escenas de obras hispanas contemporáneas y clásicas, transitando por un ciclo creativo de descubrimiento, investigación, experimentación y refinamiento. En clase, los actores presentarán su trabajo, recibirán notas y continuarán explorando el arco completo del material—incluyendo el entorno, la partitura física, la vida emocional y las motivaciones—para dar vida a cada escena con honestidad, especificidad y riesgo creativo. Se podrán incorporar ejercicios de técnica según sea necesario para abordar desafíos actorales específicos. Se espera de los estudiantes un compromiso de ensayo con sus compañeros fuera de clase, con una dedicación estimada de 2 a 3 horas semanales de preparación.

• Aprende más sobre el instructor.
• Libro necesario para el curso: Un Reto Para El Actor (Artes Escénicas) by Uta Hagen.
• Requisito previo: El curso está abierto a actores hispanohablantes de todos los niveles, así como a aquellos para quienes el español es una segunda lengua y desean profundizar su capacidad para actuar en español

Open up to a beautiful world! Mime is a form of silent communication using gesture and physical body movement to describe an event or tell a story. The best mimes are also good actors (and vice-versa!) because the emotional honesty of the work needs to be there as well. Mime requires that the body be prepared to accept the suggestion of the actor’s mind and emotion. In this class, you will learn exercises which bring your awareness to the many ways the body is ready to respond. Mime opens the world to an actor because the actor can create their own world –objects and places – with the immediacy of a few gestures. Mime tends toward comedy, but as with Charlie Chaplin, the work can also be moving or even tragic.

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• What to wear: Loose or flexible clothing (i.e. leggings, etc.) you can move in; gymnast/mime shoes or bare feet. 
• Prerequisite: Open to All

Held online via Zoom: This is a practical voice over class for actors designed to acquaint you with the specific techniques involved in performing commercial voice over and radio copy. You will practice the basics of mic technique, acquire tools to discover the point of view demanded by the commercial copy, and will learn how to translate that understanding into a compelling performance at an audition or a recording session. You will also gain perspective on demo tapes, casting directors, agents and the audition process.

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• Registration Prerequisite: Open to all.

This class is designed for early career actors who want to gain a useful understanding of how the acting industry actually works to further their careers. Many early career actors don’t necessarily know what this profession really entails until they are deep into it. Yet art and capital intersect heavily in what we do, and having a better understanding of how things work is essential to gaining a platform. This class is part-acting practice, part-discussion. Based in camera work, you are first invited to navigate the acting part of the work, and from that, open yourself up to a wider discussion of the business aspect of the work. How does employment (or casting) intersect with acting? How can we build actionable goals? How do we navigate work/life balance in a volatile landscape? What is required of us to function at that critical intersection of commerce and art? Are there helpful paradigms that we can individualize? How can we stay away from one-size-fits all advice, quick fixes, and scams?

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• Prerequisite: Open to all