Wednesday, September 29, 2010
Tuesday, September 28, 2010
The Viewpoints is a technique of improvisation that grew out of the post-modern dance world. It was first articulated by choreographer Mary Overlie who broke down the two dominant issues performers deal with - time and space - into six categories. She called her approach, the Six Viewpoints. Since that time, Artistic Director Anne Bogart and SITI Company have expanded her notions and adapted them for actors. The Viewpoints allows a group of actors to function together spontaneously and intuitively and to generate bold, theatrical work quickly. It develops flexibility, articulation, and strength in movement and makes ensemble playing really possible.
Friday, September 24, 2010
Mon. 9/27 2:30-3:50 Eurydice & Orpheus
*Tues. 9/28 2:30-3:50 Full Company (everyone in cast) - Dress comfortably!
Wed. 9/29 2:30-3:50 Eurydice, & Father
Thur, 9/30 2:30-3:50 Eurydice, 3 Stones, LoU
Fri. 10/1 2:30-3:45 Playwright/Director Info Meeting for Winter Show (SOS)
*For the Tuesday rehearsal be sure to wear loose-fitting comfortable clothing that you can move easily in. We will be doing a lot of movement - and some of it will be ON THE FLOOR. Bring a yoga mat or a beach towel if you like for the floor exercises.
Monday, September 20, 2010
Sunday, September 19, 2010
Mon. 2:30-3:50 Read-thru of play -- FULL COMPANY AND CREW
Tues. 2:30-3:50 Table-work Eurydice, Father, 3 Stones, Nasty Man
Wed. 12:30-3:00 Table-work Eurydice, Orpheus, Father
Thurs. 2:30-3:50 Table-work Eurydice, Orpheus, Father, 3 Stones, Lord of the Underworld
Saturday, September 18, 2010
One answer to a question about whether a college program could possibly prepare you for the "real" arts world, or be useful at all - she has this to say:
I respectfully disagree. First of all, we are talking about getting an education while learning your craft. College is one of the most opportune places to do both. Second, not all conservatories are created equally. Carnegie Mellon, Cincinnati Conservatory, Texas State, DePaul, Pace University, Boston Conservatory, the American Conservatory Theater, Juilliard are all considered conservatories or conservatory-style programs in that their training is rigorous and intense with little or no coursework in general education and electives. However, each of these offers direct relationships with industry professionals. I was a casting director for film and television for 15 years, and I had relationships with and respect for these institutions.
Many of these programs offer substantial scholarships, and even full rides to those who qualify. A majority of the students I coach do get substantial financial aid. The enormous price tag you speak of might actually be the same cost as any typical four-year liberal arts degree. Texas State’s tuition for its musical theater B.F.A. students is $3,700 per semester! And that applies even for out-of-state students.
As far as preparing students for a profession, there are certainly no guarantees, and the families and students I coach understand the liabilities inherent in such a tenuous occupation. But the schools do make every effort to develop intelligent artists as well as introduce them into the professional world.
So I will sum it up this way:
1. Getting a college degree is valuable.
2. Learning your craft is essential.
3. A performing arts undergraduate degree is worthwhile no matter what career one ultimately decides upon.
You can read the whole blog Q&A at the NYTimes Artbeat online.
Thursday, September 16, 2010
Monologue Audition Workshop (Grades 9-12)
School is back in session! We all know what that means—homework, clubs, late nights writing papers, dances, school plays, and college auditions. Long Wharf Theatre is back with another Audition Workshop to help you hone your skills to complete your audition package and strengthen your acting technique.
Mondays 5:30-7:00, October 18 – November 15, $195
Adult Acting Level 1
Investigate your individual and authentic voice for acting! Using Anne Bogart's Viewpoints Technique we will physically delve into concepts of space and time as it pertains to environment and our place in it. Using the Stanislavski Acting Technique we will investigate scenes from masters such as Williams, Miller, and Odets, exploring how to listen, respond, and actively engage with the text and each other. Some acting experience is required.
October 23 – November 20, Saturdays 10:00-12:00, $225
Private Acting Lessons, by appointment
For additional information or to register today, call Anne DiMartino at 203-772-8271, email firstname.lastname@example.org or mail in registration form.
Wednesday, September 15, 2010
There are only so many big roles to go around -- but we look forward to working with every one of you -- no matter how large or small the part may be. Without an ensemble there is no show.
Also - there will be many more opportunities for large and small things throughout the year.
See you all on Monday after school for the read thru of the play!
Thursday, September 9, 2010
Checkout these online resources as eHow:
Acting Audition Preparations
For our auditions it is a good idea to come prepared with a short, memorized monologue. Your piece could be anywhere from 30 seconds to 2 minutes in length. Checkout this monologue advice article on Ask.com all about Performing a Monologue.
How do you find a monologue to perform? Check out these tips on How to Pick a Monologue that Works.
And - of course - BREAK A LEG!
Wednesday, September 8, 2010
Dates may change – so it’s a good idea to always confirm events
BTW- it’s YOUR job to know the schedule & be on time.
FALL SHOW – EURYDICE by Sarah Ruhl
9/14 & 9/15 Auditions for EURYDICE
9/20-11/18 Rehearsals for EURYDICE – Mon-Thurs (some Fridays)
11/19 & 11/20 EURYDICE production dates
WINTER SHOW – Short Play Festival of new works:
SIX IMPOSSIBLE THINGS BEFORE BREAKFAST
10/1 Playwright sign-up and workshop
10/ 15 & 11/5 Playwright workshops – interested playwrights MUST attend
11/30 Playwright & Director Meeting
12/7 Production and Development meeting
12/13 & 14 Auditions
12/15 BIG MEETING & Read-thrus – EVERYONE ATTENDS
1/10-2/9 Rehearsals Mon-Fri
2/10 & 2/11 Performance
SPRING SHOW – SCAPIN adapted from Molière
By Bill Irwin, Mark O'Donnell, Molière
Dec. 2, 9, 16 Clowning workshops
1/24 & 1/25 Auditions for SCAPIN
2/14-5/11 Rehearsals for SCAPIN– Mon-Fri (including Spring Break)
5/12 & 5/13 SCAPIN performances
Tips for auditions: prepare a short monolog to perform – preferably memorized. We will also read scenes from the play. Come dressed in comfortable clothing and shoes that will allow unrestricted movement.