Acting II:
Prerequisite: Acting I. Acting II explores various acting theories and applies them to performance. The acting theories of Stanislavsky, Meisner, Uta Hagen, Robert Cohen, and others are utilized to achieve the goal of exposing students to various forms of acting theory and practice. Many contrasting styles of theatre are explored while using different techniques from the above mentioned disciplines.
Acting III:
Prerequisite: Acting II. This course is designed to further develop the student’s understanding of the essentials of acting in relationship to the practical challenges of the profession today. The objective is to create a consistent understanding of the skills and craft of an actor, how to develop audition techniques, and through advanced scene study, extend the actor’s practical abilities in script and character analysis and background research.
Voice I:
Voice I addresses the fundamentals needed to enable this vital component of the actor’s instrument. Several aspects of vocal technique will be explored in this class including diction, articulation, voice color, tone and projection. In support of these areas of focus; physical and vocal relaxation exercises will be practiced in addition to essential diaphragmatic breathing techniques. Inspired by the Cicely Berry technique, this course will form the basis of all future voice classes in the curriculum.
Voice II-Text & Dialogue:
Prerequisite: Voice I. This course focuses on improving clarity and articulation in practical text work. Emphasis will be placed on learning to recognize problem areas in consonant and vowel placement, in addition to maintaining the shape of the mouth in creating the spoken word. Breathing techniques, warm-ups and vocal exercises are then applied to a wide variety of dramatic texts, including individual, pair, and group work.
Accent Reduction:
Students work on the production and perfection of individual sounds of American English. Focus on individual pronunciation problems; addressing issues of rhythm, phrasing, intonations, speed, pitch, pauses, word stress, reductions, liaisons, and elisions. Text work includes short poems, readings, and tongue-twisters.
Singing Fundamentals:
This course will develop an understanding of the basic approaches to proper and efficient breath technique, vocal phonation, and the development and extension of the full vocal range. Sight singing will aid the student to be better prepared to work in the real world by enabling him/her to read any piece of music presented them, so an intro to music theory will be presented at the beginning of the semester. Also, to better assist the student in developing a higher level of musicality, a core vocabulary of the singer's anatomy, vocal categories, and musical terms will be learned.
Influential Cinema:
Each week a different film will be assigned for the class to view for discussion in the following class. Amidst class discussion, individual segments or scenes from the assigned film will be viewed again and analyzed, either for relevance of performance or to illustrate the importance of the films’ overall contribution to the history of film. The sources for the selection of films include but are not limited to; AFI’s “Best” lists, the Academy Awards “Best Picture” list, etc.
Improvisation:
Students will learn the fundamentals of performing long-form improvisation. In long-form improvisation, the objective is to create an entirely original performance from a single audience suggestion. The goal of this course is for the student to learn to work from imaginative and physical impulses to create character and situation.
Survey of Dramatic Literature:
Combining the practical application of learned technique with the advanced analysis of more complex and layered texts, the student will learn to expand their emotional and intellectual understanding in order to fulfill the entire potential inherent within the written character. Both classic and contemporary scripts will be studied and scenes selected for particular challenges of interpretation and performance. From American contemporary theatre classics by Arthur Miller, Eugene O’Neill and Tennessee Williams to the great writers for the screen, the student will be encouraged to gain confidence and strength in order to make bold choices in their exploration of character.
Sketch Comedy:
Prerequisite: Improvisation. The course is designed to give the student an opportunity to create an autobiographical performance piece, either real or imaginary. In writing and creating a short show, the student will learn how to be objective about their past experiences and use them constructively in their work as an actor. Designed to release inhibition and develop the creative process as a whole. The objective of the course is to make each student comfortable in auditioning for and performing comedic characters and situations.
Combat for Stage and Film:
Students learn how to stage fight scenes for theatre and film. Physical techniques used to achieve this result include basic martial arts demonstration, gymnastic exercises and simulated weapons use. Self-defense and fencing with use of foil, epee and saber is also explored. The exercises are designed to increase coordination and gain a more insightful intellectual approach to a physical situation.
Movement-Fundamentals:
This course introduces the student to the concept of the body as an expressive instrument. Through relaxation, flexibility and strength exercises, the student develops an awareness of how to physically express character in contemporary and classic dramatic texts.
Movement - Contemporary:
This course is designed to increase the actors’ strength, flexibility, and versatility. The principles of contemporary movement are based on centering, alignment, gravity, breathing, contraction, release, fall and recovery, suspension, balance and off-balance, tension and relaxation, opposition and emotion as it relates to the human body and its connection to the mind.
Movement - Classical:
Students explore dances from various periods of world history. The relationship between dance and the architecture of the period is also examined. Different physical characteristics of each period dictated by style and costume are learnt through the medium of dance.
