Shakespeare Dallas 2018 Spring Intensive
April 26-29, 2018
Thursday and Friday: 6:30pm – 10:30pm
Location: Shakespeare Dallas offices (1250 Majesty Drive, Dallas, TX 75247)
There will be a lunch break on Saturday. Lunch will not be provided for you.
Cost: $225.00 (A $50 deposit is due upon registration)
To register, please email email@example.com or by calling 214.559.2778.
This actor training intensive is 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 Spring Intensive aims to provide actors with the fundamental tools needed to align the whole self to the inherent rhythms and dynamics of Shakespeare’s music.
Training will focus on the following 4 areas:
First Folio and Cue Scripts – This workshop will give you a deeper understanding of how Shakespeare wrote his plays and how his players prepared to perform them, giving you a shortcut to more clear, specific, and spontaneous play rooted in the Elizabethan tradition.
The First Folio (an edition of Shakespeare’s plays put together by his own actors) is filled with acting clues which have been edited out of modern texts. This training teaches you how to reverse engineer the tools built into the First Folio, and allow Shakespeare’s actors to show you the way through the play. By working on cue scripts, you see how the original players would have approached the plays and Shakespeare’s hand as a director. Cue Scripts — a copy of your lines, the lines where you enter and exit, and the three words directly “cueing” your words or actions (and nothing else) — saved the original actors essential preparation time and allowed Shakespeare to direct them through nothing but the text.
Using modern versions of these Elizabethan rehearsal tools, Shakespeare himself guides us through character, stagecraft, and blocking and the potential for quicker, more impulsive, and clearer play than more familiar 20th century acting methods: a new level of active listening which will transform how you look at the plays and give you a more playful way of acting Shakespeare.
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.
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.
Movement – This section will focus on activating the entire body, to complement text work, through Laban and a sprinkle of Viewpoints. In addition to character work, you will learn how to care for your body as an outdoor classical actor.
GREGORY LUSH has been involved with Shakespeare Dallas for over a decade and will be appearing this fall as Iago in OTHELLO. He was last seen on stage as Edmund in King Lear. He was previously involved in Tartuffe, Love’s Labour’s Lost, The Tempest, and Richard III. Gregory has been an Associate Teacher of Fitzmaurice Voicework since 2004 has trained in verse with Shakespeare and Company, Aquila Shakespeare, and Shelley Delaney, in addition to extensive work with Catherine Fitzmaurice. Representative regional credits include Denmark at Victory Gardens and local theatres including Theatre 3, the WaterTower Theatre, the Undermain, Dallas Theater Center, Uptown Players, Second Thought, Kitchen Dog, Stage West. Film credits include The Colonel, Hidden in the Heart of Texas, I Become Gilgamesh, Earthrise, Arbor Day, and The Jogger. VO work includes FAIRY TALE, DANCES WITH DEVILS, ONE PIECE, DARKER THAN BLACK, and DRAGONBALL SUPER. He holds an M.F.A. in Directing from the University of Mississippi and is a proud member of Actor’s Equity Association. He is represented by the Kim Dawson Agency and teaches theatre at Richland College.
SARA J. ROMERSBERGER is a Movement Specialist and Director, Associate Professor of Theatre at Southern Methodist University, and holds a Certificate École Internationale De Théâtre Jacques Lecoq. She has worked nationally and internationally choreographing fights, dances and creating physical comedy and has logged 17 seasons at Shakespeare Dallas designing movement, fights, dances, and coaching and detailing the clowns of Shakespeare, in addition to directing A MIDSUMMER NIGHT’S DREAM in 2013. She teaches red-nose clown as part of her position as Associate Professor of Theatre/ Movement at SMU.
MONTGOMERY SUTTON is an actor, teacher, playwright, and producer. As an actor, he has worked in London at Shakespeare’s Globe and with Ben Crystal’s Passion in Practice Shakespeare Ensemble; Off-Broadway with New York Classical Theatre, and regionally with Cape Fear Regional Theatre, Seven Stages Shakespeare Company, Florida Studio Theatre, Trinity Shakespeare Festival, Shakespeare Dallas, Second Thought Theatre, Theatre Three, Undermain Theatre, Casa Manana, Uptown Players, and Circle Theatre. Film work includes Trouble with Women, Day 90, Animals, and Brute. Training: NYU (BFA) with the Atlantic Theater Company; 2015 International Actor’s Fellowship (Shakespeare’s Globe, London); Patsy Rodenberg (ongoing). Awards and recognitions: 2013 DFW Critics Forum, 2013 NYIT Award Nominee, CriticalRant’s 2015 Top Male Performance, and D Magazine 2014 Best Performances. He directed his new Elizabethan verse adaptation of Antigone this year at the Gilbert Theatre (NC); his play Your Colonel had a sold-out run in the 2013 Founders Festival at the Metropolitan Playhouse (NYC); Advent was a 2015 semi-finalist for the Eugene O’Neill festival as well as an official selection of the 2015 Kitchen Dog New Works Festival and is currently being developed by Salt Pillar Productions (NYC); additional plays include Broken Water, Ruins, and Patience. Shakespeare adaptations include The Shrew (freely adapted from The Taming of The Shrew and The Taming of a Shrew) developed with Seven Stages Shakespeare Company and being produced with the Rude Grooms later in 2018 in NYC and Sir Thomas Moore (November 2018 workshop with Seven Stages Shakespeare Company). He has taught with the World Shakespeare Conference, New York Shakespeare Company, Rude Grooms, Passion in Practice, Junior Players, and Dallas Children’s Theater. As a private coach and teacher, former students have been accepted into a variety of conservatory programs, including Julliard and NYU.
ANASTASIA MUNOZ is a native to DFW and was most recently seen as Le Bret and others in Cyrano at Amphibian Stage Productions, Tybalt and others in Romeo and Juliet with Stage West at Bass Hall, Henrietta Leavitt in Silent Sky at Watertower Theatre, Brutus in Julius Caesar with Shakespeare in the Bar, and Kate Hardcastle in She Stoops to Conquer with Shakespeare Dallas. She has also worked with Dallas Theatre Center, Casa Manana, Undermain Theatre, Theatre 3, Dallas Children’s Theatre, Ochre House and the Drama Club. She is a voice actor with FUNimation Entertainment. She has been a teaching artist in DFW for the past 15 years teaching for Junior Players, Dallas Theater Center, Shakespeare Dallas, and the Dallas Children’s Theater. She is the founder and Artistic Director of Arts Mission Oak Cliff- an artist co-working and education center in west Dallas that encourages a vibrant community through creativity.
To register, please email firstname.lastname@example.org or by calling 214.559.2778.