Shakespeare Dallas 2019 Spring Intensive

Shakespeare Dallas 2019 Spring Intensive

 

March 14-17, 2019
Thursday and Friday: 6:30pm – 10:30pm
Saturday: 10:00am – 6:00pm*
Sunday: 11:00am – 5:00pm

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 mharris@shakespearedallas.org or by calling 214.559.2778.

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 the plays how the original players would have and Shakespeare’s hand as a director. Cue Scripts — a copy of their 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.

CLOWN WORK with ROMERSBERGER will include: Finding each participants personal clown then applying that clown to a specific clown from the shakespeare cannon.We will use text with implied or imbedded physical business for each to play. Solo and Duet work will be investigated.

MOVEMENT with MUÑOZ 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.

VOICE with LUSH will focus on the basic principles of Destructuring in the Fitzmaurice Voicework, which includes freeing the body and reorganizing the pathways between thought and breath.

AND NEW THIS YEAR:

STICKS WORK with SUTTON will quickly help you “get out of your own way” and ignite a responsive, full-body listening and joyful sense of play that will transform your work on stage, on camera, and in the audition room.

We’ve all had an acting teacher or director tell us that we need to “get out of our own way” – but what does that mean, and how do you do it? The practices of stick work not only get you out of your own way, they quickly ignite a responsive, full-body listening and joyful sense of play that will transform your work on stage, on camera, and in the audition room.

Inspired by the work of Jacques Lecoq, Compicité, and Passion in Practice, these simple but infinitely unique exercises use bamboo sticks and dowels to free you from expectations to “get it right” and root you in the quiet chaos of the present moment. Stick work is a visceral, active, ensemble-based training technique that builds the same muscles as Meisner-based repetition or Viewpoints’ kinesthetic response — but without the traps that kick you back into your head, and in a fraction of the time.

Instructors:

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 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 MUÑOZ 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.