Professional Training

Shakespeare Dallas is dedicated to providing professional training opportunities to its artists and the community. From weekend workshops with renowned Shakespeare & Company to community trainings with local artists, Shakespeare Dallas believes in investing in the local artistic community.

Shakespeare Dallas 2015 Winter Intensive
December 9th to December 13th
Wednesday, Thursday, Friday, 6:30PM – 10:30PM
Saturday and Sunday, 12:30PM – 5:00PM
Tuition: $200
There are 9 spots available. Email to register. $50 due at registration.

21 hour actor training intensive designed to enable actors to confidently navigate and work within the dramatic forms Shakespeare composed in.

Shakespeare’s work is epic in its narrative ambitions, themes, and wordplay. Performing his work demands that an actor commit body, brain, and voice on a scale that our 21st century bodies, brains, and voices are often not equipped to accommodate. Playing at Shakespeare’s scale requires a degree of vocal and physical amplification that, if not approached skillfully, can undermine an actor’s instinct for authenticity.

The course sequence of the Shakespeare Dallas Winter Intensive aims to provide actors with the fundamental tools needed to align the whole self (body, brain, and breath) to the inherent rhythms and dynamics of Shakespeare’s music.

Training will focus on the following 6 areas:

Fitzmaurice Vocal Work - Speaking verse clearly through dance, swordplay, or simply the conditions of emotional extremity found in Shakespeare’s work places unique demands on the actor’s voice. An actor’s efforts to meet these demands are often undercut by habits of breath and movement that diminish vocal capacity and disconnect the voice from spontaneous fidelity to thought and emotion. The techniques developed by Catherine Fitzmaurice over the past forty years provide the actor with a pathway by which diminishing habits of breath can be eroded or ‘destructured’, clearing the space on which to rebuild or ‘restructure’ the vocal apparatus for greater capacity, range, and responsiveness. Participants will be led through the fundamentals of Fitzmaurice technique as well as potential applications of the technique for speaking Shakespearean verse.

Dynamic Alignment - Dynamic alignment draws upon practices from Alexander Technique, Kundalini Yoga, and Qigong whereby breath, body, and intention are aligned and strengthened. The work begins with basic physical alignment, balance, releasing and lengthening of the spine, and opening and expanding the ribcage. While deepening breath capacity, the actor’s ‘center point’ is relocated from head to the solar plexus, awakening the secondary (enteric) nervous system and allowing impulses to begin to be processed through the abdominal as well as the cranial brain. Thus the processes of thought and expression begin to migrate from manifesting almost exclusively in the head and face, and to use more and more of the actor’s full body.

First Folio and Rhetoric - Shakespeare’s First Folio occupies a unique position in the English language in that it is one of the primary documents through which English moved from an oral tradition to a codified written language. As such, the Folio is a musical as well as a literary document, composed not exclusively in accordance with the rules of grammar, but primarily in accordance with the principles of rhetoric. Through an understanding of verse architecture and rhythmical and rhetorical forms, the First Folio work enables actors to understand and make use of the rhetorical and phonetic cues embedded in the Folio. By reading Shakespeare’s work rhetorically rather than grammatically, the actor is able to more fully mine the word music of the Folio and make it manifest in the present.

Embodying Shakespearean Verse – The actor’s fundamental biorhythms (heartbeat and breath) are brought into alignment with the fundamental rhythms of Shakespearean verse. By using targeted resonation to open up a broader, more dynamic vocal palette, the actor’s body begins to be a more capable vessel for birthing the sonic elements that are latent in Shakespeare’s words. The actor’s total self: body, voice, and brain; having been awakened, sharpened, and strengthened through the vocal and physical work, is brought into a living encounter with the music of the Folio. This reconfiguring of the relationship of language to the actor’s voice and physical vessel allows for a more fully embodied, vigorous, and honest performance.

Clown - Shakespeare drew heavily from various European clown traditions in his work, employing rustics and fools, to various ends, in nearly everything he wrote. The clown work leads actors through the process of inhabiting the role of a Shakespearean clown or fool via techniques of exploration and improvisation developed by Jacques LeCoq. LeCoq’s work focuses on developing an actor’s specific creative potential, first by finding ‘one’s personal clown’, then applying the fruits of that discovery through various modes of play. Students will learn how to identify where physical business is embedded in Shakespeare’s work, exploit textual cues to find physical action and humanity, clarify physical storytelling, and play everything that is playable. In the words of LeCoq, the clown’s effect on an audience resides in giving them “the experience of freedom of authenticity.” By developing an actor’s capacity to remain authentic and open while deeply exploring the possibilities for play within a scene, the application of LeCoq’s work can serve to enliven and vivify the performance of any Shakespearean role.

Parry Method – Shakespeare Dallas Artistic and Executive Director Raphael Parry will work with students to assimilate and distill the physical, vocal, and textual training, through monologue and scene work, into a character path that is both dynamically alive and deeply grounded in the essential truth of the character as provided by Shakespeare’s text.

Gregory Lush has been studying and performing Shakespeare’s verse for over twenty years. Having trained with such luminaries as Catherine Fitzmaurice, Dudley Knight, Phil Thompson, the Aquila Theatre Company, and Shakespeare and Company, he has been sharing his love for verse and voice work with actors and students all over the country for well over a decade at such institutions as the Folger, Oklahoma State, Ohio University, Shakespeare Dallas, Vpstart Crow, and the Genesis Shakespeare Festival, where he was Associate Artistic Director. He is a certified Associate Teacher of Fitzmaurice Voicework.

David Goodwin has been performing with Shakespeare Dallas for over thirteen years. David trained extensively with Tina Packer at Shakespeare and Company and is currently Director of Training at Shakespeare Dallas. David has served as a teaching artist for a number of North Texas organizations, most recently for two years as a Big Thought Teaching Fellow. David is currently Chief Instructional Specialist for The University of Shakespeare, an arts-integrated program serving Dallas middle schools.

Sara J Romersberger has been working with Shakespeare Dallas as a movement choreographer for many seasons where credits include Much Ado About Nothing, Tartuffe, A Midsummer Night’s Dream (Director); Twelfth Night, Coriolanus, Hamlet, As You Like It, Cymbeline, The Taming of the Shrew, The Merry Wives of Windsor, TX, The Merchant of Venice, Othello, All’s Well That Ends Well, Macbeth, A Midsummer Night’s Dream: The Musical, The Tempest, The Comedy of Errors, As You Like It, The Compleat Works of William Shkspr (abridged). Recent/Favorite credits in the Metroplex include Undermain Theatre: Ghost Sonata, An Iliad, The Birthday Party, Theatre Three: On the Eve, Contemporary Theatre of Dallas: The Diviners, WaterTower Theatre: The Grapes of Wrath. Sara is an Associate Professor of Theatre/Movement, Southern Methodist University, and holds a Certificate École Internationale De Théâtre Jacques Lecoq and additionally has directed as well as choreographed fights, dances and creating physical comedy nationally and internationally.

Raphael Parry has been with Shakespeare Dallas since 2002. In January 2008, Mr. Parry assumed the role of Executive & Artistic Director of Shakespeare Dallas. During his tenure at Shakespeare Dallas, he has directed Pericles, Twelfth Night, Cyrano de Bergerac, The Two Gentlemen of Verona, The Taming of the Shrew, Othello, Romeo & Juliet, The Tempest, The Winter's Tale, The Comedy of Errors, Hamlet and a world premiere adaptation of Henry IV Parts 1 and 2. He most recently played the role of Enobarbus in Antony and Cleopatra.
Before serving in his current role as Executive & Artistic Director and his former role as Producing Artistic Director, Raphael was a guest artist and directed Macbeth and A Midsummer Night's Dream. He also acted in Shakespeare Dallas productions from 1984 including Twelfth Night, Richard III, The Merry Wives of Windsor, and King Lear.
Mr. Parry is the co-founder and former Co-Artistic Director of Undermain Theatre. During his tenure at the Undermain, he directed and acted in over 40 productions. Memorable projects at the Undermain include Goose and Tom Tom, Ghosts, Disgrace, Camino Real, The Deatherians, an international tour to Macedonia of Sarajevo, and a trio of play commissions from long time collaborator Erik Ehn including The Red Plays, Beginner, and Shiner. Additional selected directing/performance credits include An Almost Holy Picture (Echo Theatre); Road, Fool For Love (Kitchen Dog); Tartuffe, A Christmas Carol (Dallas Theater Center), and A Streetcar Named Desire (Zachary Scott Theater in Austin).
A recipient of citations from the Dallas Theatre Critics' Forum and the Leon Rabin Awards, Raphael was recognized for his ongoing contributions to the theatrical scene with the Dallas Theatre League- Standing Ovation Award in the fall of 2006. Raphael is also the Director of Texas Bound - Arts and Letters Live, a literary series presented at the Dallas Museum of Art and is the Chief Artistic Officer of Project X.