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Tutor: Janice Dunn
Let's do the Show Right Here (acting, singing, performance)
(Lip synch is when you mime to a song, as closely as possible to the original, like they do on shows such as RuPaul’s Drag Race.)
In our course we will explore the possibilities of storytelling, character development, and performance genre via lip synching. It will be a fun, subversive, interesting, practical and accessible course. No previous experience will be needed.
We will be examining musicality, character development, narrative choices, facial masks, etc.
Individuals will choose a song they would like to work with, and we will simply work with it. You may choose to play across gender, or type, or maybe just choose a song you really, really love singing along to. I am also happy for people to try ‘impressions’ or tributes if they wish.
You can choose a serious song, (story), or a fun one, or one with special meaning to you. If we have time we can work on more than one song each.
No-one will have to perform solo if they do not wish to. We will do some work together, and some as individuals at the same time; and some solo with those who wish. We will also laugh a lot, and maybe cry a little tiny bit. I think it will be surprisingly interesting, and speaks a little to cabaret, musical theatre, and solo performance.
Please feel free to ask questions if there’s anything you’re unsure about.)
Creating and performing a short routine from a musical
An opportunity to create and perform a movement routine all together, in our own individual digital spaces. Lots of fun and invention, and a bit of exercise.
We will explore ways of linking the moves and story together, on zoom, and find out how we can take full advantage of ‘the screen’, as a framework we are working within.
No previous experience needed, and please don’t worry about ‘not being good at dance’ because we can’t see your feet anyway; so it’s a great opportunity to come across as Fred or Ginger, or better still, both!
A series of workshops examining monologues and duologues from film musicals. I have many suggestions but am totally open to participants coming at me with pieces they would like to work with. You can choose to do a mono or duo, and will work with me, then self work, then come back to me; and we will share the work together, in some forum of our choice. (maybe recorded.)
We will use the screen framework to give shape, and structure, to what we are trying to achieve, thus allowing us to explore the cinematic nature of the work. We will keep the pieces short so we can achieve something.
No experience of actual film/ screen acting is required.
EXAMPLES:
Tutor: Janice Dunn
Our Digital Town (devising, acting)
Part 1: Development
This involves devising an interweaving story. We will establish a group of characters, either friends or family (or possibly both.) who are separated by outside events, so can only communicate digitally, and therefore are either individuals or pairs, (as indeed we will be.)
We will devise story and characters, and decide upon a narrative; developing some detail of narrative/ dialogue, establishing a framework for the second part of the course.
It is possible to be involved in this course as a writer/ deviser, or as a performer, or both. Unusually for Summer School, the aim will be to create an overall finished story, that hangs together in performance; however, our journey together to create this is what will really be the gist of the experience.
No experience of writing or devising needed to join this course.
I hope it will be lots of fun, and a fascinating exploration of the creative process itself. It will be guided entirely by the ideas of the participating group, and requires a huge degree of collaborative effort.
In this part we will go about bringing the characters devised in the first part to life, as well as developing the detail of narrative/ dialogue. Finally, we will link them and hopefully record them.
(This material could well be edited together later, after the summer school.)
It is possible to be involved in this course as a writer/ deviser, or as a performer, or both. Unusually for Summer School, the aim will be to create an overall finished story, that hangs together in performance; however, our journey together to create this is what will really be the gist of the experience.
I hope it will be lots of fun, and a fascinating exploration of the creative process itself. It will be guided entirely by the ideas of the participating group, and requires a huge degree of collaborative effort.
Tutor: Kate Colgrave-Pope
Day 1 Warm-up ()
| 1 to 50 participants
Tutor: Freddie Machin
Day 2 Warm-up ()
| 1 to 100 participants
Tutor: Janice Dunn
Day 3 Warm-up ()
| 1 to 100 participants
Tutor: Graeme Du Fresne
Day 4 Warm-up ()
| 1 to 100 participants
Tutor: Janice Dunn
Day 5 Warm-up ()
| 1 to 100 participants
Tutor: Kate Colgrave-Pope
Day 6 Warm-up ()
| 1 to 100 participants
Tutor: Graeme Du Fresne
Day 7 Warm-up ()
| 1 to 100 participants
Tutor: Freddie Machin
Day 8 Warm-up ()
| 1 to 100 participants
Tutor: Kate Colgrave-Pope
Day 9 Warm-up ()
| 1 to 100 participants
Tutor: Freddie Machin
A Writing Retreat (Writing)
A reflection on writing for today, taking inspiration from the present times
13.5 hours over the whole period 1 session/day | 5 to 15 participants
This course will offer participants the opportunity to reflect on the world we live in now through their writing. When we come together each day, I will set provocations, and introduce skills and then send the group off to see what they can write in their own time. We will then share and reflect on what has been written. It will give each person the time to reflect on this fast moving world crisis through their writing. The course will run the entire length of summer school 2020 but with only one teaching session per day so as to allow plenty of time for each participant to reflect and write.
Tutor: Graeme Du Fresne
The Karaoke Chorale (unison and part singing)
Being creative, exploring singing technique and having fun
12 hours from Mon 27 to Jul to Sat 1 Aug. 1 or 2 sessions per day | 6 to 12 participants
The word Karaoke has been almost exclusively linked with singing pop songs in a pub or bar. Karaoke’s popularity is generally based on its sociability with the added plus of alcohol being a forgiving factor if some of the notes aren’t quite right. The word karaoke is derived from the Japanese words Karappo which means 'empty' and Okesutura meaning 'Orchestra'. We more simply understand it as music that has the lead vocal melody line omitted.
I have a catalogue of Karaoke songs across a range of styles and genres. The tracks consist of orchestra, band & some piano arrangements that sound much like the original. All you have to do is fill in the missing vocals.
There will be unison and part singing. There will be optional opportunities for some solos within some of the songs. We will be applying 'acting through song' techniques and will spend a little time each day on developing our singing technique.
Songs from Musical Theatre will form the core of the material we will be working on. You may have seen the wonderful 90th birthday tribute to Stephen Sondheim called ‘Take Me to The World’ which is on YouTube. In this recent on-line concert celebration of his work one of the highlights for me was a version of ‘The Ladies Who Lunch’ performed by three women. At summer school we can share this song as non-gender specific ensemble. You don’t need to be able to read sheet music and the course is suitable for all ages. The aim is to have fun, be creative and improve our singing technique.
The songs will be drawn mainly from Musical Theatre & Pop including some Sondheim but also some lighter songs such as Bring Me Sunshine (Morecambe & Wise), the Little Shop of Horrors Prologue, Cliff Richard’s Summer Holiday, and songs from ‘Dirty Rotten Scandals’.
Tutor: Graeme Du Fresne
The Craft and Graft of Songwriting (songwriting for beginners and more)
How to write your own song – and enjoy it
12 hours from Sat 25 Jul to Fri 31 Jul 1 or 2 sessions/day | 6 to 8 participants
Having introduced song writing at summer school for the last two years, I am offering another course this year. It will be limited to a small number of participants. This will allow me to complete everyone’s ideas in ‘writing up time’ between sessions. You don’t need musical skill or experience to do this course. We’ll do some preparation on ‘how to compose a melody’ to get us going but from past experience everyone’s got a tune in them! You hum it and I’ll play it. We’ll look at themes, styles and structures with some examination of a few well-known songs.
Two of the hardest words in the language to rhyme are life and love. Of all words! Stephen Sondheim
If you're horrible to me, I'm going to write a song about it, and you won't like it. That's how I operate. Taylor Swift
Tutor: Kate Colgrave-Pope
Monologue Mash-up (Acting)
How to fully develop a character through exploring the intricacies of a monologue
18 hours over both weekends 3 sessions/day (6h per participant) | 9 participants working in groups of 3 (1 session/day/participant)
This course is tailored for anyone wanting to develop their acting technique and craft and for those actors who may be auditioning for drama schools who need a helping hand in taking themselves towards their chosen monologues. The course will also be of use for anyone interested in improving their skills in ‘presenting’ themselves to the public.
Over the week we will be exploring how to mine a text for its gold, build tension and transform character. We will be using the fundamentals of Stanislavsky techniques to structure your monologues and Lee Strasberg’s ‘sense memory’ to strengthen a personal connection to your material. Additionally, we will use exercises that will build your confidence and encourage you to follow your impulses, free your inhibitions and release your imagination so that you can bring exciting and meaningful characters to life.
Preparation: Participants need to choose a monologue based on the above brief – this should not be longer than 2.5 minutess so that we can really explore the speech.
Please feel free to cut larger monologues to that time if you would like.
You need to have read or know the play fairly well and be familiar with the lines of your speech before our first session.
Each group will be given access all the speeches before the session so we can work on the material together for a sense of shared ownership and collaboration.
Tutor: Mike McCormack
The Best Pictures (Radio Drama)
Practicalities and unique elements of creating audio drama
7.5 hours weekday evenings only, 1 session/day with individual works at home | 5 to 15 participants
Over the space of 5 days, the course will introduce participants to the practicalities and unique elements of the creation of Audio Drama. It will also be of value and interest to those with ambitions to become skilled at creating sound for theatre. Each of the five sessions will comprise a webinar lecture-demo by Mike, examples of sound dramas and opportunities for questions and comments from participants. Following each session, a practical exercise will be suggested, to be undertaken before the next webinar. At the end of the five days, participants will have created a number of short radio dramas.
Participants are encouraged to download 'Audacity', a free digital sound software, in advance of the course.
The course will be of less value to those already skilled with digital sound software.
The sessions will include work on: