Master Classes with Performance : Offerings may vary from descriptions

YOU MAY ORDER 2  Master Classes . We reserve the right to cancel any Master Class with insufficient enrollment. We will help you find an acceptable alternative. AT this point you are signing up for an instructor not a specific course description as these may have already sold out.

1010-houraster Class Offerings

JESSICA TARGET 

• Falling In Love
• With Performance
  
  

REMY BERTRAND

• AND THEN WE JUMP
• Physicality inspired
• With Performance

DIANA BROWN

• Let Emotion Fuel Your Performance: A Master Class on Physicality and Voice Drawing Inspiration from Fairytale Archetypes 
• With performance

 

RANDY DIXON

• SPONTANEOUS MYTH (Story Telling inspired)
• With performance

KEN HALL

• THE DUO SCENE
• with Performance
• for preexisting duos and individuals  

INBAL LORI

• RESPECT
• With performance

 

TIM ORR

• JUMPING IN WITH BOTH FEET
• With performance

 

CAROL FOX PRESCOTT

• ON THE BREATH FOR ACTORS: :eek The Joy of Your Own Experience
• No performance

 

LUANA PROENÇA

• I Wwant toDance with Somebody
• with Performance
• Physicality inspired.You do not have to be trained in dance!!!

 

PATTI STILES

• Our choices in scenes / The Circle of possibilities
• With performance

 

TOM TOLLENAERE

• VINTAGE VINYL MUSIC IMPROV ENSEMBLE
• with performance

 

 

Descriptions

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:

DIANA BROWN

Let Emotion Fuel Your Performance: A Master Class on Physicality and Voice Drawing Inspiration from Fairytale Archetypes 

Join us and learn how to achieve fuller embodiment of your characters through physicality and voice.
Drawing inspiration from Fairytale archetypes, we'll explore how to adapt these broad characters to any performance setting. 
As an improv artist, it's essential to let your instincts guide you. 

 

In this master class we'll:

-Lean into the truth of the moment.

-Expand your empathy for both yourself and your scene partners. 

-Empower your performance as an Improv Artist

 

Prerequisites: All experience levels welcome

Minimum enrollment required to run the class: 5

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. 

 

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

Our choices in scenes / The Circle of possibilities

 

Everything is an offer. Every offer has a circle of possibilities. The story arrives if we are playing fearlessly and present and being attentive to our partner(s), the offers and the circles. Often improvisors find themselves stuck in a scene with feelings of panic and thoughts like ‘what do I do now?’ or ‘where is this going?’ The answers lie in understanding the Circle of possibilities and how this is already revealing story possibilities to you. You always have options in a scene and having the skills to recognize this means you have creative choices to inspire your partners, develop the story / scene and delight the audience.

This workshop will be a mix of training exercises to fine tune skills, directed scene work / side coaching and scene discussion.

 Any level welcome if you are fuelled by curiosity and discovery, the desire to explore, play and learn, and are willing to step into the unknown plus receive feedback on the scene and your technique.

 

TOM TOLLENAERE

VINTAGE VINYL MUSIC IMPROV ENSEMBLE

with performance