10 hour Master Class Offerings :
MASTERCLASSES AND EXTRA CURATED TEAMS ARE
- 9-10 HOUR ELECTIVE CLASSES
- NOT INCLUDED IN THE BASIC 19 HOUR FESTIVAL PACKAGE
YOU CAN FIT THE FOLLOWING IN YOUR SCHEDULE WITHOUT CONFLICT
2 MASTERCLASSES
OR
1 MASTER CLASS AND 1 EXTRA CURATED TEAM
AND
If you want to take an intensive that meets daily for 90 minutes with Carol Fox Prescott you can add this with no conflict. It will likely be early morning in the schedule.
JESSICA ARJET
Falling In Love:
You see him. He sees you. Your eyes lock, your heart races, and the audience quivers on the edge of their seat! Falling in love may seem simple, natural, and organic. The truth is that you are more likely to get hurt falling in love than fighting on stage.
In this Master Class you will learn how to foster the intimacy and vulnerability needed to show the audience a true love story. You will also learn how to amplify these feelings just enough to make them hilarious, but not so much that you sell out the soul of the story.
Jessica has directed both "I Love You So Much" and "The Romantic Rom-Com Comedy Show," which has helped her build a series of exercises, tricks and tips to put the spark into any relationship on stage.
REMY BERTRAND
AND THEN WE JUMP
This workshop is designed to liberate participants from the confinement of the mind and inspire a bold, physically engaged approach to improvisation. The workshop will involve various activities to encourage physicality, including non-verbal and verbal games, drills, scenes and entire plays.
In this workshop, the body becomes a powerful channel for creative expression, enabling participants to connect with their bravest side. And then we jump.
Level
After years of practice, we abolished levels in our impro classes. Improvisation isn't a linear process, so why should it be taught linearly? Moreover, levels say nothing about an individual's capacity to work with others, and people can learn a lot from each other regardless of their history. What is required to take our classes is not experience but courage, consideration and curiosity. We've replaced levels with three approaches, open to everyone:
RANDY DIXON
SPONTANEOUS MYTH
With performance
Spontaneous storytelling is a place where mythic thinking and archetypal images are allowed to live. The myths and images of the imagination arise from the emptiness in improvisation. We have to rely on each other, or we will fail. Improvisation uses image to connect with story and archetype. Images from the imagination are allowed to breathe and the archetypes allowed to live.
The workshop will focus on the creation and use of images to invoke ancient stories as well as the ones emerging today. What was happening thousands of years ago can influence what happened today. We are living myth. Through the use of image work, ritual, personal storytelling we will try to create a safe space to explore the stories that touch us at our cores. We will “get out of our skins” and learn to about the honesty of play. We will use our dream images to create plays. It will be hard work and a high level of risk will be involved.
Any format of improvisation is the container for mythological imagination. Improvisation allows us to explore the uncharted, unmapped territories of our stories and live explore another day. We can see our myths and tell the tale together.
David Mamet in Writing in Restaurants says, “The theater is not a place where one should go to forget, but rather a place where one should go to remember”. To remember our stories, to remember our origins, to see through a mythical lens that can enhance our lives.
VIVIAN GLADWELL and SARAH FRENCH
IMPROVISING WITH OBJECTS
with Performance
This Masterclass will guide you through practical exercises to help you cultivate your clowning skills and deepen your understanding of the art of clowning.
We will explore the clown’s relationship to objects. Identification with objects teaches important clown principles such as:
- commitment to physicality and embodiment,
- use of voice for emotional expression,
- relationship with partners and audience,
- personal freedom
- breaking the rules of theatrical convention
- exploring roles and breaking free from roles
This masterclass enables an in-depth exploration of different aspects of clowning with the intention of freeing your clown’s playfulness, creativity and risk taking.
Possible areas of exploration are:
- Rhythm
- The clown’s relation to role and character
- Working with paradox and conflict
- Working with the audience
- Acting versus not acting
- Authenticity
- Pleasure
- The Narrative structure
- Chaos
- The subversive clown
- Surrealism and the absurd
- Tragedy
- Poetry
- … and other discoveries
KEN HALL
The Duo Scene
with Performance
This Master Class focuses on finding greater play, connection and trust within a duo scene. Discover what makes you unique and how individually and collectively your duo style can develop to the next level. Taught by one half of clown/improv duo juggernauts, 2-MAN NO-SHOW, Ken will help uncork and elevate higher heights of play through physicality combined with your own voice and points of view. Break new ground with your improv and harness the power of your version of play with a scene partner.
*Open to all duos and individuals
INBAL LORI
RESPECT
With performance
From fully listening to your partner to playing the lowest/highest status in scenes, runs the thin cord of respect.
In this workshop, by exploring the starting point of honor, dignity and respect, we will learn to create an enabling environment, motivated by recognition, trust, freedom, creative joy, and lack of judgement. This will lead you to perform the best fun and creative improv ever!!!
We will explore how such trust enables us to explore deeper and darker aspects of relationships and dynamics in order to create reflective scenes exploring all kinds of truth.
TIM ORR
JUMPING IN WITH BOTH FEET
With performance
How do we start scenes with confidence, variety, vitality and clarity ? How do we start in the beginning, the middle, or even “the end” of something? How do we make the most of the initial “Big Bang” of scenes? In this class, we'll work on "hitting the stage" with energy, commitment and the elements that help us do that: Volume, Clarity, Specificity, Implied History, Emotions, Agreement, Initial Staging. We’ll be packing a lot in a just a few hours, so please come with comfortable shoes and an open mind!
CAROL FOX PRESCOTT
On The Breath for Actors: .
Seek The Joy of Your Own Experience
No performance
Welcoming people at all levels of experience and training, the only thing you will need to bring is a working knowledge of the English language and determination to seek joy.
Wherever you are in your lifelong journey as an actor, whether starting out to build a reliable technique or adding to the tools you already employ, this work will enhance your imagination, free your body, and guide you towards expanding the depth and breadth of your acting instrument, with is YOU!
LUANA PROENÇA
I Wanna Dance with Somebody
with Performance
We will dance based on the everyday gesture "stolen" from the audience and that becomes dance in its broadest sense: a movement that gains space in our bodies. This improvisation format departs from the classic image of parties, where we expect someone to ask us to dance. From solitude, to duets, to groups, to the delight of discovering yourself dancing in your own way. "Oh, I wanna dance with somebody... I wanna feel the hit with somebody".
Skills: Qualities of gesture, transformation of everyday gesture to expressive, observation and group work based on the idea of shoal. You do not have to be trained in dance!!!
PATTI STILES
TBA
TOM TOLLENAERE
VINTAGE VINYL MUSIC IMPROV ENSEMBLE
with performance