WORKSHOPS / CLASSES
The following descriptions depict the way the classes / workshops have run in the past. Feel free to contact me if you'd like to adapt or combine any of the following or if you have an idea for a workshop that you'd like me to run, as a few of these started out as exactly that.
I've taught and created art with children aged 4-80, and I would be happy to adjust the classes to fit anywhere in that range.
I've taught and created art with children aged 4-80, and I would be happy to adjust the classes to fit anywhere in that range.
Playwriting
For a semester long introduction to playwriting, I like to use the ten-minute play as a starting block, but I'll most likely dabble in the five and two-minute play as well. From there, should time and/or skill allow, we can move on to outlines and scenarios for a one-act or full-length.
From there, I can go a number of ways. I can teach advanced sections that deal with creating and/or developing one-acts or full lengths.
I can create a new work with and/or for your company.
I can teach sections specifically on the short play, sketch writing, writing for television, and screenwriting as well as sections dealing with creating specific genres of theatre, be it realism, non-realism, performance art, adaptation, or plays for one performer. I can also teach sections based on eras and or artists in the theatre such as Theatre of the Absurd, post WWII theatre, or Ibsen. All of the above would start out with the short form and expand from there should resources and/or aptitude allow.
From there, I can go a number of ways. I can teach advanced sections that deal with creating and/or developing one-acts or full lengths.
I can create a new work with and/or for your company.
I can teach sections specifically on the short play, sketch writing, writing for television, and screenwriting as well as sections dealing with creating specific genres of theatre, be it realism, non-realism, performance art, adaptation, or plays for one performer. I can also teach sections based on eras and or artists in the theatre such as Theatre of the Absurd, post WWII theatre, or Ibsen. All of the above would start out with the short form and expand from there should resources and/or aptitude allow.
Oral Interpretation of Literature /
Interp Theatre
I aim to keep the torch lit for this dying application of our art. I believe that the interpretation and adaptation of literature can be an excellent starting point for young actors, teachers, directors, and public speakers.
Oral Interpretation focuses on the actor/teacher/public speaker through monologues based on songs, poems, excerpts from fiction, and eventually a playscript for the actor section. In the class we will focus on interpretation and analysis and presentation. The goal is to have a clear understanding of the work before moving on to the second goal of being clearly understood in the presentation of the work.
Interp Theatre focuses on turning works of literature: songs, poems, short stories; into 5, 10, or longer works of live theatre, depending on class size, duration, and makeup. In this class for future directors and teachers, the focus begins with selection and interpretation, then adaptation, and if time and resources permit, the final focus is thr production of the work.
Both of the above would work best as classes that meet multiple times, though I would certainly be willing to do an overview of either or both for a conference or convention.
Oral Interpretation focuses on the actor/teacher/public speaker through monologues based on songs, poems, excerpts from fiction, and eventually a playscript for the actor section. In the class we will focus on interpretation and analysis and presentation. The goal is to have a clear understanding of the work before moving on to the second goal of being clearly understood in the presentation of the work.
Interp Theatre focuses on turning works of literature: songs, poems, short stories; into 5, 10, or longer works of live theatre, depending on class size, duration, and makeup. In this class for future directors and teachers, the focus begins with selection and interpretation, then adaptation, and if time and resources permit, the final focus is thr production of the work.
Both of the above would work best as classes that meet multiple times, though I would certainly be willing to do an overview of either or both for a conference or convention.
Acting Shakespeare's Verse
There are two schools, it seems, in the acting of verse: those who believe we should hear it, and those who can't imagine why one would ruin such beautiful words with the pedantic pentameter...
I am one who believes in leaving the verse in Shakespeare, mainly because I think Shakespeare did, but also because Roger Gross, the man who mentored me in verse, (as well as a number of other things) and wrote the book I use for this class, has done a heck of a job in convincing me. I'm pretty sure that you and your students will be convinced as well.
In the class, we will investigate how the verse and his variations from it not only shape the work, but far from a hinderance, actually help the actor a great deal with the interpretation of it. We will start how shakespeare and his contemporaries did: with the sonnet, before moving on to monologues, pairs, and scenes should time, resources, and class makeup allow.
This would work best as a class with several meetings, but I can adjust it to a workshop setting if actors came prepared with a monologue, scene or sonnet. However, it would work best to have two meetings, as the actor should learn the verse BEFORE memorization.
I am one who believes in leaving the verse in Shakespeare, mainly because I think Shakespeare did, but also because Roger Gross, the man who mentored me in verse, (as well as a number of other things) and wrote the book I use for this class, has done a heck of a job in convincing me. I'm pretty sure that you and your students will be convinced as well.
In the class, we will investigate how the verse and his variations from it not only shape the work, but far from a hinderance, actually help the actor a great deal with the interpretation of it. We will start how shakespeare and his contemporaries did: with the sonnet, before moving on to monologues, pairs, and scenes should time, resources, and class makeup allow.
This would work best as a class with several meetings, but I can adjust it to a workshop setting if actors came prepared with a monologue, scene or sonnet. However, it would work best to have two meetings, as the actor should learn the verse BEFORE memorization.
Beyond the Icebreaker:
Improvisation for Organizations
Tired of playing "get to know you BINGO" at your organization's first meeting of the year? Need some new tools for your bag? (And seriously, do we really build teams by finding out who likes bananas and who went to a 6A High School?)
Using sources that vary from Second City to the Neo-Futurists to Augusto Boal, we'll apply improvisation games and techniques that leaders both young and old can take back to their organizations and use as team-builders or tension breakers.
Always a hit at leadership conferences, this works best as a workshop, though I would certainly consider expanding it.
Using sources that vary from Second City to the Neo-Futurists to Augusto Boal, we'll apply improvisation games and techniques that leaders both young and old can take back to their organizations and use as team-builders or tension breakers.
Always a hit at leadership conferences, this works best as a workshop, though I would certainly consider expanding it.
Improv Games! /
Build your own Improv Troupe
This is always a hit at theatre conferences. I can set this up so that we actually learn about improv and what it really means to be a "gift giver," versus a "laugh theif," or we can just play games for an hour. I prefer the former, but understand why some prefer the latter.
With enough notice, I like to get a group of improvisors together for this class.
Another option is a workshop I've done called, "build your own improv troupe." In it, we talk about everything you need to know from learning the craft, forming a troupe, finding gigs, PR, auditions, funding, etc. I can do this alone, but I like to bring friends for this one, too.
With enough notice, I like to get a group of improvisors together for this class.
Another option is a workshop I've done called, "build your own improv troupe." In it, we talk about everything you need to know from learning the craft, forming a troupe, finding gigs, PR, auditions, funding, etc. I can do this alone, but I like to bring friends for this one, too.
Create a Newspaper
We do just that, from the ground up. We'll start by electing editors before discussing the vision and name for the publication. Then, we go to work, learning everything from the inverted pyramid to editing and layout. Students assign and write the stories, take the photos and put the paper out. In the past, with Upward Bound, this worked as a way for the students to air their grievences with the program in a constructive manner, while honing their leadership, organization, and writing skills.
I would also be interested in expanding or adapting this to include creating a literary and or art publication consisting of student work.
I would also be interested in expanding or adapting this to include creating a literary and or art publication consisting of student work.
Create Your Own Musical
The brain-child of the Fayetteville Public Library, this is a workshop where we adapt a favorite story or novel into a musical. If you provide some improvisational musicians who don't mind working with kids, you won't believe what we can get done or how much fun can be had in three hours.
I'm also interested in expanding this into a class or a multi-class workshop.
I'm also interested in expanding this into a class or a multi-class workshop.
Learning How we Learn:
Taking the Stairs
Though this is an element I use in almost every class I teach, I can also teach this as a seperate workshop.
"Taking the stairs," refers to the stages of conscious understanding: Unconsciously Unskilled, (UU), Consciously Unskilled, (CU), Consciously Skilled, (CS), and Unconsciously Skilled (US). Through this window, we begin to understand how we learn so that we might become more effective and efficient at it.
"Taking the stairs," refers to the stages of conscious understanding: Unconsciously Unskilled, (UU), Consciously Unskilled, (CU), Consciously Skilled, (CS), and Unconsciously Skilled (US). Through this window, we begin to understand how we learn so that we might become more effective and efficient at it.
