The movement curriculum is designed to nurture and guide the actor through her or his process of who they are and who they are becoming—from student to artist. The demanding movement disciplines challenge you to discover, awaken and develop yourself to meet the demands of being on the stage and in front of the camera. The collective process of these studies creates a free, strong, alive, expressive body.
The objectives are to develop a more reliable kinesthetic awareness, to hone skills for physical transformation and to acquire a physical craft for theatrical expression.
Tom Vasiliades, Chair - Alexander Technique
and Physical Life of a Role
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Teva Bjerken - Alexander Technique
Ragnar Freidank – Michael Chekhov
Cynthia Reynolds - Alexander Technique
Rick Sordelet - Stage Combat
Jean Taylor - Theatrical Clown
Shelley Wyant – Neutral Mask
Mina Yakim – Character Mask |
Fundamental to creating the physical life of any role and movement on stage is having a reliable sense of how you are moving, balancing, and spatial awareness. In year one, you become aware of and transform your unconscious physical habits that interfere with performance. That is, to improve how you move, breathe, make sound, and how you express yourself. These discoveries and understandings are the basis for all that follows.
Utilizing the discoveries of year one—and continuing that process—you embark on an exploration to transform yourself physically to play characters/people who are different than you. You will explore and learn the relationship between your internal experience and external physical expression; how to create character.
With an improved physical understanding of yourself and physical transformation skills, artistic choices can be made to support the productions you are in; any movement, gesture, shape or stillness tells a story. Work in the third year guides you to meet the demands of any play with full, vibrant expression.
Photos by Tyler Caffall and Scott Wynn