Acting I

• Apply action-based theory to scene work using materials from Stanislavsky, Seylar and Hagen
• Focus on concentrated study of Stanislavsky's methods applied to American Realism and Comedy
• Activate dramatic text by breaking down playable beats of action and physicalizing character's wants and needs
• Live truthfully within the given circumstances of the play

Singing Techniques for the Actor

• Develop the student's skill in basic music theory, proper warm-ups and vocal techniques
  
• Expand the actor's musical theatre repertoire
• Work on proper breath support, sound placement, intonation, rhythm, release of tension and diction using Overholt's techniques

Ballet

• Barre work
• Vocabulary
• Alignment
• Acquisition and retention of combinations
• Dance Audition Techniques

Text Analysis

• Presents the basic tools for analysis of play texts including plot, given circumstance, structure, character, relationship, language and imagery.
• Explore how careful text analysis illuminates the choices for actors in preparation for a role

Movement I

• Connects the student actor with his/her body as an instrument
• Begins with 4-5 weeks of body conditioning, strength building and increase of stamina
• Using impulse work, literal and abstract exploration, students create movement pieces using text and music
• Laban technique, animal work and physical character creation are key components

Voice and Speech I

• Strengthening an actor's vocal power, stamina and sensitivity to emotional impulses through exercise and techniques based on Rodenberg and Berry
• Develop understanding and command of IPA (International Phonetic Alphabet)
• Applies voice and speech concepts to classical texts

Shakespeare I

• Master the basic tools for verse-speaking and performance of Shakespearean texts including rhetorical devices, scansion, rhythm, personalization of imagery, and playing action through language.
• Students investigate through sonnets, soliloquies, and scenework

Actor's Lab I

• Exercise and expand student actor connection to imagination and impulse through story-telling, action, endowment and personalization.
• Participation in group, partner and individual improvisations from master teachers including Johnstone, Spolin, Benedetti, and Wangh.

Musical Theatre Ensemble