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The Undergraduate Performance Project provides students the opportunity to study and perform in major dramatic works. The Winter 2015 Undergraduate Acting Project presents Shakespeare's Hamlet alongside Stoppard's Rosencrantz & Guildenstern are Dead. Students learn to form an artistic ensemble, develop dramaturgical materials, learn professional arts protocols and practice, devise within the ensemble, and develop live performance ability. Audition required. Preference to majors/minors. Maybe repeated for credit.

Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text.

This course explores the unique demands of playing Shakespeare on the stage. Through deep exploration of language and performance techniques in sonnets, speeches and scenes, the student will learn how to bring Shakespeare's passions to life through research, analysis, and a dynamic use of voice, body and imagination. This course is designed to increase the actor's physical, vocal, emotional, and intellectual responsiveness to the demands, challenges and joys of playing Shakespeare.

This is a small seminar designed for students interested in creating scored stories for radio/podcast or live performance - spoken, sonic stories. We will examine the main features and craft of these kinds of stories, popularized by radio programs like This American Life and live shows like The Moth and you will then write and produce your own piece, be it memoir, documentary, inquiry, or some combination of these genres. Students will have the opportunity to meet at work with some of the best storytellers in America - this term, you will get to meet and work with Julie Snyder, senior producer of This American Life.

Introductory, intensive training in movement for acting and the fundamentals of unarmed stage combat. This course is for students interested in movement and dynamic storytelling; no prior training is required. We will explore the fundamentals of contact improvisation and fight performance as a means of strengthening mind-body connection and preparing the actor for more nuanced, compelling work on the stage. Drawing from a range of practices, we will explore physical improvisation and composition, examining how these can be used to make discoveries about a text, a character, one¿s ensemble and oneself. Our training consists of four main components: physical conditioning, practical technique, improvisation and the creation of two short performance pieces. The class will culminate in an open performance of scenes.

How does a singer develop the strategies to shape nuanced, emotional performances? What clues does the singer mine from lyrics and a score in order to communicate through song? This is a studio course in acting and movement techniques for vocal performers who want to expand their expressive range, refine multi-faceted performances, and cultivate compelling stage presence. nnThis course is suitable for any vocalist; classical singers, a cappella performers, musical theater actors and others are all welcome. The three foundational underpinnings of our work will be actor personalization technique, basic movement training and text analysis strategies. We will develop flexibility, relaxation and the freedom to follow expressive impulses while also deepening our knowledge of character, narrative and theme.nnStudents should be prepared to engage in intensive work with performance pieces, selected according to each student¿s preferred style and tradition. We will focus on close textual analysis and find connections between the ways performers use various written scores (for spoken dialogue, song lyrics and musical composition) as the blueprints for dynamic performances that tell a powerful story. The course will culminate in a public performance of material from a musical performance genre.

The physical actor is ever working to develop a wider range of emotional expression, an unconscious attentiveness to fellow actors, and a compelling presence that conveys a sense of truth in action and in word. Students explore movement as a means of physical training and performance-building. For those interested in dynamic storytelling; no prior acting or physical training is required. Four main components: physical conditioning, practical technique, movement improvisation, and the creation of several short performance pieces. The fundamentals of contact improvisation for theater, which offers actors another way to explore text and make discoveries about character. Exercises in movement composition sharpen tools necessary for creating original work and crafting strong performances on stage.

Acting techniques for working on film and with video.

Explore improvisation and sketch comedy in an intensive ensemble and create an original show. Pure improvisational theater techniques. Concepts covered include spontaneity, shared control, creative collaboration, narrative, and status. Students apply those skills to writing and staging scripted monologues, two-handers, and ensemble sketches. Students create an original show with the entire class.