What are the ways in which theater can more fully engage contemporary artists and audiences? Can theater be narratively connected to other art (beyond traditional theater design), and how can the utilization of various forms of storytelling be merged into one cohesive narrative? What are the social and cultural implications in creating this work, and what are its challenges?
Join us this February for a series of FREE generative writing workshops led by local LA-based authors. The series explores the connections between LA's built environment and how different cultures and communities interface with public space.
Free and open to the public - register here to reserve your spot.
Join us this February for a series of FREE generative writing workshops led by local LA-based authors. The series explores the connections between LA's built environment and how different cultures and communities interface with public space.
Free and open to the public - register here to reserve your spot.
Watch the trailer here: https://www.youtube.com/watch?v=Lxw0ea_UiZ4
You can watch the trailer here: https://www.youtube.com/
Students will engage in two different, introductory approaches to scene study. After learning about Meyerhold's biomechanics and learning an etude, students will workshop opens scenes with feedback. These contrasting approaches demonstrate a hybrid method in attempt to diversify acting training and complicate what we might consider "good acting."
In this talk Sean F. Edgecomb moves beyond the ontological definition of queer as an identity-driven "being" to an active "doing," which in turn demonstrates his approach to the study of LGBTQ+ theatre and performance as a hybrid teacher/scholar/artist in a college setting. After speaking on his interventionist work on queer legacy and queer kinesis, drawn from published works and productions, Edgecomb discusses his current research on theories and performances of queer rurality in the American theatre.
In much American acting pedagogy of the last one hundred years, actor preparation gets you only as far as the very start of any given scene... after which, it is expected, your gut instinct must take over and carry you through to your exit. This can leave the actor stranded on stage, scrambling to keep up, and hydroplaning over otherwise important pivots. In this talk, Brendan Hughes attempts to identify a solid, identifiable landmark inside of every dramatic scene, in order to provide actors (and audience members) with concrete moments to mark in the progression of dramatic stories.
The first challenge for every actor in every scene is to make it seem like it's actually happening. In this class exercise, Brendan Hughes will illustrate the difference between speaking extemporaneously and reciting memorized dialogue, and how to make your delivery always sound natural.
International Womxn's Day marks a call to action for accelerating womxn's equality. As a celebration of the social, economic, cultural and political achievements of womxn, we are gathering to demonstrate our appreciation through artistic expression. To sign up, email: slicepc@oxy.edu