DANCE GENERAL
TUTOR: LEROY RICARDO-JONES |
This class will focus on audition technique for dance calls at Musical Theatre auditions. You will work on the performance and interpretation of Music as well as pick up skills and extend the ones you have. The warm-up will include contemporary ballet. Routines will be musical theatre based and also include other dance forms.
The minimum dance standard for this class is intermediate. |
 |
MEISNER
TUTOR: FRANCEEN BRODKIN |
Sanford Meisner was one of the most influential acting teachers of the 20th Century, helping to develop a generation of our greatest actors. As film director Sydney Pollack said, "Sandy's approach has always been for me the simplest, most direct, least pretentious and most effective."
This class will teach you the essentials of the Meisner Technique. It will include his
famous Word Repetition exercise, structured improvisations, work on text, and most importantly, how to emotionally prepare in order to live truthfully under imaginary circumstances.
Beginners to Meisner as well as those with some experience of his work are most welcome.
Franceen Brodkin trained in the Meisner Technique with Paul Bardier in New York City,
where they later started the Bardkin Theatre Company and Studio.
She has taught Meisner's Technique internationally, in recent years at the National Theatre School of Canada, the Oxford School of Drama, Central School of Speech and
Drama, East 15, and the Drama Centre, London.
|
|
MUSICAL THEATRE SINGERS PERFORMANCE CLASS A
TUTOR: LEONTINE HASS
|
This class will be taken by a Vocal Coach in conjunction with a Musical Director. There will be prominent West-End Musical Directors taking this class throughout the term as well as other industry professional including agents and casting directors. The focus of the class is to build up a reliable audition repertoire and to absorb as much information and insight as possible from the large pool of experts who come in.
The songs performed will be worked from various angles; technical vocal management, emotional connection with the text, interpretation, honesty, physical engagement and expression, posture, musicality, and all other aspects involved in performing a song. You will be asked to prepare specific repertoire each week.
All participants will be firmly encouraged to create their own program for an upcoming concert/cabaret. Performance opportunities and venues will be suggested. Help will be given with selecting suitable repertoire. Please know the composer and lyricist for all your songs as well as the show they are from and its context. Choose songs suitable for you in terms of casting. Please bring a neat copy of all your songs including cuts, clearly marked for the pianist and in the correct key. No on the spot transposing. Long songs should be cut so they are a suitable length for auditions-no longer than 3 mins.
|
|
CLASSICAL SINGERS PERFORMANCE CLASS A
TUTORS: TBC
|
| This class will be taken by a vocal coach in conjunction with a repetiteur. The focus of the class is to build up a reliable audition repertoire which is ready should an audition come up. The arias/songs performed will be worked from various angles; technical vocal management, emotional connection with the text, interpretation, physical engagement and expression, posture, musicality, style and language. All participants will be encouraged to put together a recital.
|
|
SCENE STUDY FOR ACTORS
TUTOR: FRANCEEN BRODKIN |
| Like musicians, dancers, artists, and writers, actors need to keep themselves in tune by regularly practicing their craft. This is a class for professionals who want to expand and improve their work on text, character, and emotional preparation, so that when the next audition or job comes along, they will be honed, prepared, dazzling to watch, and at the top of their game. We will be using Stanislavsky and Meisner based techniques, and choosing scenes that will stretch and challenge you. There will also be the opportunity to work on monologues for upcoming auditions.
|
|
ACTING - METHOD
TUTOR: ROBERT FRIED |
A series of carefully designed progressive and interrelated Method based improvisational exercises, working on the self. The aim is to explore and expand each Actor's unique qualities in order to increase range and the capacity to transform.
In the process, the different tools constituting the actor's craft will be revisited and explored: Given Circumstances, Preparation technique, Action, Beats and Activities, Sense Memory recall, building a credible relationship, Outer and Inner Obstacles, critical assessment of one's own work, etc. At a later stage the class will apply the above exploration to text and scene study.
Applicants need to have an open mind and willingness to trust and work through their resistances. Group dynamic and constructive criticism of each other's work is crucial. Consistent attendance, unless it clashes with other professional commitments, is essential.
|
|
AUDITION TECHNIQUE
TUTOR: SALLY KNYVETTE |
However experienced you are if you haven’t auditioned recently you can be out of practice and nervous at an audition. This workshop is for those with all levels of experience. It will focus you on how to really prepare and to give your best ‘on the day’ – it will give you tips and techniques on how to underpin your speeches with emotional truth and how to make the audience sit up and notice YOU!
Please bring a speech of approx 2 minutes- (with a copy)- that you know well and that suits you.
Sally has worked continuously in the industry as an Actress and Director since the mid 70s. She is well know for her long running characters in Blakes 7 and Emmerdale - she has worked with Sir Peter Hall 7& Mike Alfreds among others and has recently Directed To Kill A Mocking Bird at the Tricycle Theatre.
|
|
UNRAVELLING SHAKESPEARE
TUTOR: SALLY KNYVETTE |
This workshop is for those who feel anxious around Shakespeare’s work – the aim is to help you free -up his poetry and prose and show you how to you feel more connected to the text. Simple techniques will show you how to easily access his ‘genius’.
I will be fun, illuminating and above all instructive and demonstrate how the writer gives you so many tips on how to play the character. - It’s all in the text!
You will be given monologues and duologues to prepare a few days before the workshop.
Sally has worked continuously in the industry as an Actress and Director since the mid 70s - she20studied Shakespeare at university and has given workshops at the Globe – more recently she directed Twelfth night at RADA- she is passionate about Shakespeare’s work and takes workshops around Britain.
|
|
TEXT
TUTOR: ROBERT FRIED |
A methodological approach to acquiring effective tools for the actor’s technique
Truthful acting depends on making a series of effective choices about the character, its world, the text and sub-text. A wrong choice short-circuits the actor’s belief as well as the audience’s. This course provides the tools for solving these problems through:
• character analysis
• establishing truthful relationships between characters
• close examination of the given circumstances
• identifying what is at stake in the scene
• clarifying the objective and the scenic action
• breaking down the text into beats
• identifying beat activities
• looking at the scenic structure
• rehearsing the scene
Great emphasis will be placed on teaching the actor an effective way of creating truthfully ‘moment one’ of the scene.
This class is complements Robert’s Acting class in which, through improvisational exercises, the actor works on him/herself to explore and expand his/her unique qualities in order to increase range and the capacity to transform. While it is not indispensible to take both classes, the two enhance and strengthen each other significantly.
|
|
