Graduate Studies: Professional Actor Training Program:
Training: Course of Study
First Year: Foundations
Acting (Drama 720): Action and objective, personalization and creative use of self, affective memory, moment-to-moment awareness, given circumstances, “targets”; beginning acting for the camera.
Voice/Speech/Text (Drama 722): Active/cyclical breathing; alignment; expansive intention; warm-up; pitch and stress work; 360 degree resonance; vocal care and stamina; emotional susceptibility; improving speech detail; introduction to International Phonetic Alphabet; Detailed American pronunciation in varying contemporary and classical styles; text/rhetorical analysis.
Movement (Drama 724): Body as Instrument: corporeal awareness and presence, releasing tension, breaking habitual patterns, strength and flexibility, psychology manifested in the body, character transformation, ensemble building. Using: Yoga, Lecoq (neutral and Basel mask) Grotowski’s physical metaphor, Laban and Viewpoints.
Rehearsal and Performance (Drama 726): Appropriate roles with PlayMakers Repertory Company, studio productions, and rehearsal projects.
Second Year: Variations
Acting (Drama 721): Application of acting process to a variety of classical and formal texts including Shakespeare.
Voice/Speech/Dialects (Drama 723): Application of advanced vocal technique to scene study, classical texts, and demanding performance spaces; develop an approach to character voice and character perspective; explore dialect and accent study that applies advanced use of International Phonetic Alphabet.
Movement (Drama 725): Body in Space and Time: a physical approach to periods and styles to gain specificity and increase imaginative range: Greek, Elizabethan/Jacobean, Restoration (Fall); Contemporary Farce, Clown, Beckett, Brecht, Grotowski, Suzuki (Spring).
Rehearsal and Performance (Drama 727): Continuing work at PlayMakers Repertory Company, studio productions, and rehearsal projects.
Third Year: Synthesis
Acting (Drama 728A): Self-scripting; the business of acting; showcase preparation and presentation in New York City; roles with PlayMakers Repertory Company; projects.
Movement (Drama 728M): Actor as Creator: devising work with an ensemble (Fall), creating a solo show (Spring).
Voice/Speech (Drama 728V): Camera integration including commercial & scene technique, auditions, and original film projects. Refining and integrating performance skills on and off stage.
Course of Study is supplemented by workshops and special classes taught by distinguished guests. Past workshops:Pat McCorkle (McCorkle Casting), Daniel Swee (Lincoln Center Theatre), Jay Binder (Binder Casting), Jandiz Estrada (NBC Casting), Stephanie Klapper (Stephanie Klapper Casting), Angela Mickey (Liz Lewis Casting), Jessica Myhr (Inherent Style), Julie Tucker (Julie Tucker Casting), Liz Woodman (Liz Woodman Casting), Heidi Griffiths (NY Public Theater), Mary Harden and Nancy Curtis (Harden/Curtis Associates), Mark Schlegel (Cornerstone Talent Agency), and creative artists such as Libby Appel, Christopher Bayes, Liesl Tommy, Trezana Beverly, Anne Bogart, P.J. Paparelli, Mark Rydell, Lucas Caleb Rooney, Dominque Serrand, John Carroll Lynch, Ellen McLaughlin, Brendon Fox.