Dec 17, 2018  
College Catalog 2017-2018 
College Catalog 2017-2018 [ARCHIVED CATALOG]

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DRAMA 633-4 — Dramatic Techniques III

8 credits
Full Year

Character in Motion: This second-semester class involves a series of assignments in character exploration and development. Etudes include “memorable character,” ”invented character,” “observed character,” “opposite character,” “archetypes,” “culturally bound,” etc. All character studies are aimed at development of strong point of view in solo and relational forms of expression. (Combined studies)

Dramatic Vocal Technique III: Focus is on vocal transformation through dialect, vocal dynamic, and vocal characterization. Heightened texts explore rhetoric, style, and stamina. Actors work individually, in sections, and in divisions with their teachers. Text work and evaluation includes political speeches, classic and contemporary monologues and scene work, and film and voiceover texts with a strong emphasis on dialect. (Graduates only)

Four clusters or units of classes designed to integrate vocal skills into demanding, unfamiliar and highly stylized genres of text. These texts require students to work outside their personal dialect. A sophisticated attention to the precision of phonemes and a sophisticated use of vocal presence is needed to create the world of the play. The use of melody and pace is very important to the performance of these texts; advanced attention is given to building the argument of the text within the melodies of the given dialect. Cluster One: The literature will be Shavian, and/or drawn from satirical comedies by authors such as Noël Coward and Philip Barry. The pace of the language will require a great deal of dexterity. Much of the literature will require the use of British Received Pronunciation (RP). Cluster Two: Shakespeare. Cluster Three: Monologues from Restoration Comedies. Cluster Four: Comedy in the rhythm of dialogue.

Graduate Alexander Technique III: Third-year Alexander Technique combines individual sessions and group classes. The 25-minute tutorials are assigned on a rotating basis: each student has a private lesson every two weeks. This allows each actor to deepen his or her understanding of the principles and processes of the technique and to address personal habitual patters of mind and body. Chair work, table work, movement activity work, and character work are all addressed in the individuals. The group classes bring students together to review techniques and introduce new procedures related to performance projects. (Graduates only)

Individual Graduate Voice Instruction: Actors work in individual sessions with teachers to target challenges that might include dialect, transformation, production demands, and audition material. (Graduates only)

Jazz Dance: A second-semester course to help achieve complete physical freedom, enhance enjoyment of the body in motion, and find a fuller expression of sensuality. (Combined studies)

Makeup Techniques for Performance: This class teaches fundamental corrective and character makeup techniques for the modern stage performer. It focuses on developing essential makeup vocabulary, tools, and technique to empower the performer with the skills necessary for full character creation. (Graduates only)

Movement III: A physical acting lab focusing on the development and enrichment of a physically expressive vocabulary using texts and individual imaginative resources. Using exercises and skills learned during the first and second years, students will structure a warm-up routine and continue with exercises that enable a strong connection with both a partner and the group. (Combined studies)

Singing for Performance I: Focus on individual and group coaching geared to an actor based on performance, audition or personal need. (Combined studies)

Suzuki Method: Developed by internationally-acclaimed director Tadashi Suzuki, the Suzuki Training Method is a rigorous physical discipline drawn from such diverse influences as ballet, traditional Greek and Japanese theater, and martial arts. The training seeks to heighten the actor’s emotional and physical power and commitment to each moment on stage. Attention is on the lower body and a vocabulary of footwork, sharpening an actor’s breath control and concentration. This course meets in the first semester. (Combined studies)

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