Acting

This is a "maker's" course that takes full advantage of working in a design lab to create a portfolio of short solo performance that could be stand-alone pieces, or further developed into longer works or possibly a TAPS BA thesis. Through the quarter we will examine varied approaches that include personal narrative, adaptation, object work, and projections while investigating the unique performer-to-audience dynamic. Benefiting from a historical approach that originates in the performance art work of the 1970's through contemporary approaches to stand-up, students will research and present on artists including Marina Abramović, Spalding Gray, Anna Deavere Smith, Taylor Mac, Hannah Gadsby, Tig Notaro, Lynn Needle, Heidi Schrek, César Cadabes, and Debra Ann Byrd. Students will generate new works through in-class and take-home assignments and this quarter will culminate in a final showing of selected work for an invited audience. Prior experience is not required.

This course addresses techniques and modes of observation and their application to scene study. Observation study is used to strengthen acting choices, build the physical world of the play, and create original, vital characterizations. It also serves to deepen awareness of group dynamics; integrate symbolic, psychological, and physical meaning in a character's behavior; and guide the process of breaking down a scene. Students will perform observation exercises and apply their discoveries to scene work.

This advanced acting course builds upon fundamental acting training and develops advanced skills for the performer. The focus will be on acting methods that are useful for multiple types of material; best practices in monologue, scene study, and ensemble work; and multiple approaches toward rehearsal processes. In preparation for weekly in-class performance work, students will be required to collaborate with scene partners outside of class and to dedicate themselves to a disciplined practice of self-study. For enrollment in this course, please submit a Statement of Intent at this link: https://forms.gle/KduDPpafN58XcRnw8. Questions? Email vwalden@uchicago.edu.

This is a “maker’s” course that takes full advantage of working in a design lab to create a portfolio of short solo performance that could be stand-alone pieces, or further developed into longer works or possibly a TAPS BA thesis. Through the quarter we will examine varied approaches that include personal narrative, adaptation, object work, and projections while investigating the unique performer-to-audience dynamic. Benefiting from a historical approach that originates in the performance art work of the 1970’s through contemporary approaches to stand-up, students will research and present on artists including Marina Abramović, Spalding Gray, Anna Deavere Smith, Taylor Mac, Hannah Gadsby, Tig Notaro, Lynn Needle, Heidi Schrek, César Cadabes, and Debra Ann Byrd. Students will generate new works through in-class and take-home assignments and this quarter will culminate in a final showing of selected work for an invited audience. Prior experience is not required.

Shakespeare’s theatre was a madhouse. Losing sight of this was a bad mistake.

This class will give you strong practical skills for performing in the style of those playhouses: under-rehearsed, deeply un-precious, in constant dynamic relationship with your audience. Techniques will focus on personalizing the plays, delivering them with clarity and force to a modern audience - not on ‘doing it right’. Our time will be spent primarily on hands-on exercises and scenework. Materials will include the instructor’s books, My Life with the Shakespeare Cult & Blueprints for a Shakespeare Cult. Course concludes with the presentation of a play for an invited audience. Some on-stage experience recommended. No prior experience with Shakespeare necessary. Chips on shoulders about Shakespeare are welcome and helpful.

This course develops acting skills for the current moment in addition to preparing for the future. The focus will be on acting analysis methods that are useful for live or remote performance; best practices in monologue, scene study, and/or audition work on camera; and multiple approaches toward creating engaging digital performance. This class will combine the study of acting theory with collaborative performance practice. Previous acting experience is encouraged.

This course will explore how an actor uses movement as a tool to communicate character, psychological perspective and style. The foundation of our movement work will center on the skills of balance, coordination, strength, flexibility, breath control and focus. Building on the skills of the actor both in terms of naturalistic character work and stylized theatrical text. Students will put the work into practice utilizing scene work and abstract gesture sequences through studying the techniques of Michael Chekov, Vsevolod Meyerhold, Anne Bogart, Complicite and Frantic Assembly.

This course adapts curriculum originally designed for the various schools of modern improvisation (including the iO, the Annoyance and The Second City) and brings it into today’s Zoom world. Listening skills, the ability to work well with others as a team, and building scene work organically are highlighted. You will leave this class a better communicator, with interpersonal tools that support other facets of your life.

This course addresses techniques and modes of observation and their application to scene study. Observation study is used to strengthen acting choices, build the physical world of the play, and create original, vital characterizations. It also serves to deepen awareness of group dynamics; integrate symbolic, psychological, and physical meaning in a character's behavior; and guide the process of breaking down a scene. Students will perform observation exercises and apply their discoveries to scene work.

This course is a hands-on introduction to Neo-Futurism: a method of transforming your own thoughts, feelings, and experiences into creative, task-oriented, audience-participatory, non-illusory, unique theatrical events. Students are encouraged to find their own voice as fully rounded theater artists by writing, directing, and performing their own short performances using their own lives as source material. By pursuing the goal of absolute truth on stage, we focus on an alternative to narrative Realism by embracing such elements as deconstruction, found-text, collage, abstraction, sythesis, and chaos. Classes consist of original group exercises as well as presentations of weekly performance assignments.