Training in voice work begins with the cultivation of deep physical awareness. Specific attention will be given to how the body—bones, muscles, breath, and nervous system – relates to healthy vocal production and vocal freedom. Examine how it feels to stand on your feet. Learn about how you live in your body, how you relate to your head and neck and shoulders. Discover how this affects your use of voice and influences healthy vocal spontaneity and expressiveness. Develop curiosity about these sensations and the circumstances and habits that affect them. Work through specific exercises to develop a Level 1 vocal and creative warm up sequence that will become your ongoing practice. Through your warm up become used to the process of checking in: recognizing and allowing the physical/emotional moment you are in and the circumstances that attend it, experiencing the moment, and working from it. Develop a relationship with the habitual patterns that influence how you engage with yourself–your skeletal and muscular structures, autonomic nervous system, your breath and your voice. Develop spontaneity, learning what it feels like to give in to a physical experience. With curiosity, explore and experience rigidity in the body through the release of tension, breathing, and spontaneous truthful sound. Learn the basic anatomy that supports breathing, sound making, and articulation in speech. Throughout Level 1 you are asked to discover your own process and be with others in theirs, so together the group develops a sense of what it means to be heard, seen and understood. This class employs the destructuring and restructuring processes of Fitzmaurice Voicework® devised by Catherine Fitzmaurice. Be advised that this Level requires time to master, and most actors will need a two- or three- term investment at Level 1 to develop awareness and become confident in these practices. All else in voice and speech work will build on this foundation.

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• Registration Prerequisite: Open to all.

In Acting 2, you continue developing the techniques from Acting 1, now applied toward scene work and the demands of crafting and scoring a role. You’ll use Uta Hagen’s object exercises to build habits of attention and unlock your rehearsal process. You’ll apply improvisation to the exploration of character and circumstances, and develop an approach to preparation. Among the skills you’ll practice: discerning beats, intentions, obstacles, and conflict; choosing actions; sensing the turning points in the text; substitution/personalization; endowment of sensory conditions; working with expectations and previous circumstances; finding immediacy in the give and take.

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• Required reading: A Challenge for the Actor by Uta Hagen.
• Prerequisite: Open to Acting Level 2 and up. New to HB? Submit online for level placement.

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

In Scene Study 2, you will apply the lessons of Acting 1 and 2 to the preparation, rehearsal, and presentation of scenes, focusing on contemporary realist plays (mid-20th century to present). Scenes are presented in class for critique, then reworked to explore and apply feedback. Technique exercises may be introduced diagnostically to address problems as they arise.

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

For playwrights who have a working craft, this advanced playwriting class focuses primarily on content, structure and criticism. It offers a place to try out skills and develop new material. The emphasis is on writing and rewriting scenes, one-act and full-length plays, with class readings as the goal. Offered in memory of beloved HB playwright extraordinaire, Donna deMatteo.

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• Registration Prerequisite: Open to all playwrights who are honing their craft, with experience writing scenes.

The Method of Etudes, developed by Konstantin Stanislavsky, helps you to improve your ability as an actor to be in the moment on stage, using your impulses, images and words. You will develop acting technique through the practice of independent work, or etudes (meaning” study” in French, widely used in music and art). You will learn how to be yourself in imaginary circumstances, how to observe, select and recreate life around you. This workshop will help you discover your inner emotional life and physical awareness, awake your creativity, and develop your skills as an actor. An actor without imagination is an empty vessel. Creativity and imagination come from evoking your inner potentials, observing life around you, finding magic in simple things, and bringing them to life through your point of view! Classes will start with a warm up. Please wear comfortable clothes and be ready to move and enjoy the process of discovery.

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• Registration Prerequisite: Open to all.

Weapons training for actors. Learn how to sword fight for stage and screen. Practice safety protocols for working with prop guns on set. Expand your special skills as an actor training with the Sordelet, Inc. team, who bring decades of experience and expertise in the field of safely creating extraordinary fight scenes with weapons.

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• Registration Prerequisite: Some stage combat experience recommended but not required.

In a climate when many acting classes are focused on performing, this workshop is focused on Being. It is deceptively simple, but only something we can learn by doing, and by watching and listening to each other. This workshop, geared towards actors with some prior acting experience, is designed to help you learn and refine on-camera skills in a supportive and exciting environment. First day on set? Don’t worry – We got you covered. Making the move to on-camera acting is a big challenge. If you’re new to film or TV (or if it’s been a few years), the set can be intimidating and very confusing. What you’ve experienced in rehearsal and on stage won’t prepare you for the technical challenges of on-screen performance. And when you get that first on- camera job, no one is there to guide you through it. Until now. Being on Camera is presented by two acclaimed actors each with 20 plus years experience on stage and on both sides of the camera. It is an intensive immersion into the practical, nuts & bolts work of on-screen acting. Through discussion and on-camera exercises we’ll explore basic film techniques and cover all fundamentals that go into realizing a filmed scene.

• Learn more about the instructors: Amelia Campbell & Anthony Arkin
• Prerequisite: Previous experience acting on-camera is required, such as prior enrollment in Being on Camera 1, Acting with the Camera 1, or equivalent.