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Performance Calendar
 
    The Juilliard School
   
 
  Dec 12, 2017
 
 
    
College Catalog 2017-2018
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DRAMA 611-2 — Dramatic Interpretation I

10 credits
Full Year
Faculty

Approaching the Play (Text Analysis): A first-semester course detailing examination and explanation of a play. Students identify a play’s theme, its structure, and its character relationships. By discovering how to analyze a text and to appreciate a whole play, the student will be better able to approach a specific role in it and to do useful research and homework for rehearsal. (Combined studies)

Ballroom Dancing: Ballroom dancing engages the actor to explore another side of storytelling (solo/monologue, dance partner/scene partner, team/company). Each dance explores the ways in which people move through their lives physically and psychologically and how each dance has a different point of view and tells a different story. This first-semester class focuses on increasing muscle memory as well as physical and mental presence. The work practices ceremony, grace, body-mind connection, sportsmanship, and the equal importance of leading and following. The work culminates in a formal ballroom competition including well-known and highly respected judges and a master-of-ceremonies from the professional ballroom world. (Combined studies)

Graduate Improv: In the first semester, improvisation aims to enhance the students’ powers of concentration and relaxation and free them from self-consciousness, fear and pretense. Through a broad spectrum of exercises and etudes including object, sensory and environment work, observation and transformation exercises, neutral scenes etc., the students expand their imaginations and their powers of expression. They practice giving up a need to control or plan and instead begin to respond spontaneously and personally. Improvisational exercises become increasingly structured with an emphasis on given circumstance work—who, what, when, where, why—in order to start the process of scene work. The class meets in divisions twice and week and as a whole group once a week. Feedback is constant and evaluation is based on work on assignments and daily exercises. (Graduates only)

Graduate Play: Play class involves a reawakening the actors’ most basic instinct: “to play.” Emphases are on risk-taking, listening (so as to “re-act” and not think), observation that written plays are merely sophisticated games, and most importantly, maximizing FUN! Throughout, special attention is given to rehearsal technique, and how to practice. Finally, there is an introduction to the concept of Flow Technique as soon as the ensemble is ready. It is an exploratory class with strong emphasis on participating. Therefore, it is incumbent that the artist/student has an ever-increasing appetite to play, and, more importantly, “to fail,” thereby rousing the actor’s unique intuitive unteachable genius. Graduate Play is a first semester workshop, whereby both actor and teacher will collaborate to find truth and beauty. (Graduates only)

Masks: Second-semester improvisation on large themes, including mythology and poetic texts, incorporating the wearing of simple masks. The work is designed to free the student from self-consciousness and to release imaginative impulses leading to uninhibited physical expression together with economy of gesture. (Combined studies)

Point of View I: Point of View (POV) is a yearlong course of study that carries through all four years of the training. The aim of the course is to help the students see their training and their art in a larger context — historical, political, and artistic. On a regular basis, interwoven with their training in voice, movement and acting, they see, meet, and work with other artists from the theater and other art forms (dance, music, architecture) and encounter scientists, politicians, and activists. In these encounters with multiple points of view, students develop their own sense as actors, artists, and citizens. (Combined Studies)

Rehearsal Projects I: Throughout the year, students are cast in plays and rehearse them under the guidance of professional directors. Plays are selected to challenge the students in a variety of progressively demanding ways. The rehearsal projects are laboratory exercises for exploring an actor’s process and are not aimed toward performance results. Casting is determined by the needs of the training rather than the demands of the play. While the projects are developed to a point at which they are shared with an audience of fellow students and faculty, they are not “produced” but are shown in a room with only basic rehearsal clothes, props, and furniture. These projects are also yardsticks for measuring the degree to which the student is able to apply and integrate what has been learned in the various classes. (Combined studies)

Scene Study I: This second semester course builds upon the work explored in the Improvisation classes and aims to free students from self-consciousness in order to emphasize the requisite sense of process needed to explore the initial stages of work on scenes. (Combined studies)

Seminar in Improvisational Techniques: Aims to free students from self-consciousness, fear, and pretense, and to enhance their powers for concentration; to foster a full awareness and control of their inner resources; through a broad spectrum of improvisation, to expand the imagination and to encourage expression, interaction, and temperament. This class meets as a whole group once a week. Feedback is constant and evaluation is based on work on assignments and daily exercises. (Combined studies)
 



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