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.

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.

If you are an actor with prior theater training or experience, and want to continue exploring your relationship with the camera, this workshop is for you. How can we translate what we know about performing into this medium? It starts with you. Just you, being. Process focused, this workshop gives students the opportunity to spend time in front of the lens working on both monologues and scenes. Participants explore how it feels to BE, rather than perform; how it feels to make friends with the camera – or at least call a truce! To come to understand the camera as a partner who is infinitely interested in our truth. Being On Camera 1 is designed for theater actors with some on camera experience to investigate the mechanics of screen acting with no pressure and without the focus on "getting the job." The Being on Camera workshop series is presented by two acclaimed actors each with 20 plus years experience on stage and on both sides of the camera.

• Learn more about the instructors: Amelia Campbell & Anthony Arkin
• Prerequisite: Open to theater actors with some on camera experience

As immigrant actors, we are not only from somewhere else. We also come to this industry with different cultural sensibilities, languages, accents, physical behavior, human experiences, blindspots, and expectations. We also often find ourselves having to deal with way more than the craft. There are artistic, legal, and financial pressures that are particular to immigrants. What do we need to build our careers in theater, film, and TV? And how can we ‘own’ who we are at every step of the way? This class is designed for aspiring and early career actors in the U.S. It covers the 1) artistic aspect of acting and audition technique for theater, film, and TV, 2) 2) the business aspect and how the acting industry works, and 3) the legal aspect of employment authorization that is a kind of difficulty exclusive to international actors. The class is deeply rooted in practice across a wide range of material from film, TV, and theater.

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• Prerequisite: Open to all

Broadway actor and renowned Shakespearean actor and teacher Peter Francis James leads this special masterclass for actors, taking a contemporary look at performing and interpreting the works of Shakespeare. In this workshop for professional performers, scenes and monologues from the works of Shakespeare are explored through table work, text analysis and discussion, and then rehearsed for presentation in class for critique and development. With the text as the fundamental teacher, we employ the specifics of language, action, subtext, circumstance, and relationships, to connect with the writing at the deepest most personal level, and, while referencing history, finding the common humanity revealed in the plays, and the continuity with contemporary life.

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• Prerequisite: Application required. Apply Online. (Prior participants of this class may register without applying.)

This 5-session workshop focuses on some of the most commonly used dialects in the actor’s toolbox, British Received Pronunciation (“Standard British”) and Cockney. In this workshop, you will explore the signature sounds and intonation patterns of these two accents. Topics explored include research and rehearsal techniques, finding freedom and flexibility, and the challenge of accessing emotional life while speaking in an unfamiliar way. All actors will work on a monologue of their choosing, as well as very short scenes. Texts will be drawn from the works of playwrights including Oscar Wilde, Joe Orton, Nick Payne and Kwame Kwei-Armah. Essential for every actor, skills underlying British accents can be applied to characters and plays from around the world, reaching far beyond the UK. Due to the expanse of the colonial British empire, Standard British exerted large influence on African, Middle Eastern and Southeast Asian accents. Therefore, even today, non-native speakers of English are exposed to and learn English not with an American accent, but with a Standard British accent — meaning, a solid foundation in Standard British will equip you with skills for performing dialects from many cultures and nationalities across the globe.

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• Registration Prerequisite: Open to all.

Whether you are new to acting or have some experience, this workshop is designed for those who are interested in exploring acting as a means of expression. Specifically designed exercises, improvisations, and micro scenes and monologues ease newcomers into the craft of acting, help discover one’s true self, and foster a strong connection with others. Comfortability on stage is a priority as well as a clear understanding of acting technique: choosing a specific action as the means to work through obstacles and achieve objectives.

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• Prerequisite: Open to all.

For artists who are interested in developing their own projects, this is an independent class working solo or with a partner on an independent study project that you devise, under the guidance of HB faculty, Snezhana Chernova. Examples of projects include: Writing a screenplay/play, doing a podcast, doing a live stream performance series, monologues or scenes, creating a TV pilot, writing music, shooting a documentary or short/feature film, writing poetry etc. You must submit an application at this link for review and approval prior to registering. Within the application you will be asked to include a work-plan, proposed outcome, and the estimated number of hours required to complete the project. Creative projects might be shared in public presentations at the end of the term and/or on HB Studio’s social media channels. Undertaking this Lab requires a commitment to check-ins with the instructor and weekly 2.5 hour group meetings to report objectives, progress, trouble shoot, present projects, and exchange ideas. An additional one-on-one 30 minute session with the instructor may be held each week. This Independent Study Project Lab requires a commitment of 4 hours per week.

• Learn more about the instructor.
• Prerequisite: Application required. Apply online.