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 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.