SLO REP is excited to offer TWO new workshops for adult actors. Please see below for details and we hope you’ll join us!
Hip Hop Shakespeare
November 13, 2017
|Time:||Monday, 6 pm-9 pm|
- Class Details
PCPA alum and Shakespeare veteran Bree Murphy’s Hip-Hop Shakespeare workshop is a fast-paced, fun-filled excursion into the similarities of history, meter, text, and emotional connection found in both Hip-Hop and Shakespeare. The workshop allows the student to unlock Shakespeare’s text more thoroughly by setting the text to Hip-Hop rhythm, meter, and beats. Students creativity and individual journey are highlighted through improvisation, working as an ensemble, and practical application of the text.
Ms. Murphy became a passionate teacher of Shakespeare in 2008 on tour with the Utah Shakespeare Festival workshops for young audiences. Michael Don Barr was her teacher in a one very full day of teaching Shakespeare workshops. While teaching as a guest artist this past year at PCPA she developed her own style of textual workshop drawing inspiration from the work of the Akala with the Hip Hop Shakespeare Company and the Q Brothers Hip Hop Shakespeare performances. She is inspired by the contemporary art form of hip hop as an artistic expression of societal commentary and combining that with the mirror image of that expression in Shakespeare’s words and themes. Sometimes the greatest realizations of creativity are when you have no idea what you are doing but you commit fully to the experience. It is her hope to move people out of comfort zones by pushing boundaries of “who you think you are” into the playing zone of “who you really are” by thinking on your feet and playing from the gut. The workshop is collaborative and improvisational in nature however, the text is the source and the workshop is designed with a greater text understanding in mind.
Some previous knowledge of Shakespeare will serve well but not at all required!
About Bree Murphy
Bree Murphy has an MFA from UC Irvine and has worked at several regional theatres over the past 20 years including ; PCPA, Utah Shakespeare Festival, and The Great American Melodrama.
Acting for the Stage: Practical Techniques for the Rehearsal Process
October 7-November 18, 2017
|Time:||Saturdays, 9 am - 12 pm|
- Class Details
You’ve landed the part. You’ve got the script. Now what?
Learn hands-on application of acting fundamentals while going through a rehearsal process. You’ll be guided through character development and creating a dynamic scene using basic acting techniques, as well as learning practical components of collaborating with a director and other actors. This class will be valuable for both the beginning and the experienced actor. Be prepared to work during each class and to do a little homework.
The class will mirror the rehearsal process; you’ll spend some time outside of class learning your lines and reading the play from which the scene is extracted, reviewing your personal notes from the previous classes and, ideally, an hour or two per week rehearsing with your scene partner. Being prepared to perform in class is extremely important. Observation is also a major part of the class. Wear comfortable clothes that allow for flexibility and closed-toes shoes.
Class is limited to 12 participants. No class on Saturday, November 11.
Week 1 – Receiving the script
- How to read the script.
- Looking for clues to character.
- Exercises to prepare concentration, acting on impulses and being open to other actors.
- Discussion of memorization and the practical realities of embarking on the rehearsal process.
The student will receive a scene from a published script. This will be the scene worked on for the duration of the course.
Week 2 – Blocking the scene
- Learning to understand the essential elements of a director’s blocking notes.
- Fulfilling your responsibilities in the early rehearsal process.
- Identifying the action and the conflict.
- Acting on impulses during collaboration.
- Awareness of your place in the visual story.
The instructor will block the scene. The student will have their script in hand for this class and notate the blocking and other pertinent information. All students will observe.
Week 3 – Working the moment to moment action
- Building the foundation of a sustainable performance.
- Development of relationship and the individual character arc.
- Using tactics to make dynamic acting choices.
- How physicality affects emotion and perception.
The student will have memorized the scene for this class and work with the director to convey specific meaning for each line and action in the script. All students will observe.
Week 4 – Mining the script for more
- Continuing moment to moment work with a deeper understanding of the text.
- More tools for releasing inhibitions.
- How to be playful while on-task in the rehearsal room.
- Continued application of basic acting tools and professional responsibilities.
The student will continue to work through the scene with notes and suggestions from the instructor. All students will observe.
Week 5 – Pushing the boundaries
- Experimenting with heightened emotion and physicality.
- Learning the effects of timing, pace and size.
- Maintaining energy and consistency.
- Discussing how to physically and mentally prepare for performance.
The student will perform the scene multiple times with conditions imposed by the instructor. All students will observe.
Week 6 – Performance and post-mortem
- Assembling an overview of your process.
- Discussion of emotion, technique and professionalism.
The student will do a single final performance of the scene and observe other class scenes. All students will evaluate and share their personal discoveries and questions raised with feedback from the instructor.
About Suzy Newman
Suzy received her MFA in Acting from the University of Alabama and has worked with the Texas, Virginia and Southwest Shakespeare Festivals, Willamette University, PCPA – Pacific Conservatory Theatre and Oregon Cabaret Theatre. Suzy’s Little Theatre directing credits include The Drowsy Chaperone, Picasso at the Lapin Agile, Independence, The Foreigner and The Santaland Diaries. Other directing credits include The Two Gentlemen of Verona for the Central Coast Shakespeare Festival, and several shows at The Great American Melodrama in Oceano, where she also spent many years acting, directing and as company manager. In 2015, Suzy appeared in the one-woman show, The Search for Signs of Intelligent Life in the Universe, as part of the Little Theatre’s After Hours comedy series.