JANICE DUNN    A NEW DIRECTION (directing)

A practical approach to directing

Using an 8-point plan as our structure, we will explore some of the most challenging elements of play directing, by actually directing some plays.

Each participant will be assigned or will choose a short section of a play; and over the duration of the course, will have the opportunity to develop themes, character and vision, via a series of directing prompts and interventions.

The participants will serve as actors for each other’s directing work. In this way there is an opportunity to perform, but also to develop as a director through the experience of being directed by others.

You do not need to have directed before to do this course, but a clear understanding of it as a role is
advised.

We will be covering use of prompts (techniques), staging issues, text work, character development, physical action, creative integration, dynamics, and noting.

It will be a useful and fun course, accessible to all, but also active and following a tight structure.

(The focus will be on contemporary texts, but participants can bring texts to work on, as long as they have not already directed it, and it is written by a professional writer. Remember, however, that participant numbers are limited.)

JACK GOGARTY SO MUCH MORE (acting / improvisation)

Creating characters and their worlds through improvisation

This course will be looking at the basics of improvisation while ensuring we don’t censor ourselves.

We will learn to follow impulses, and not just focus on the ‘improv’ trap of ‘being funny’ – although often it will be!

We will then expand further with a character-based, extended form improvisation – the Mike Leigh technique – and explore what it’s like to stay in character for longer periods of time without text.

We will work both in pairs and larger groups, getting comfortable by playing and being silly, whilst exploring how to create entire worlds without anything in the space to help. The techniques of juggling objectives and of scenic goals will be used, alongside literally making everything else up as we go!

Improvisation is so much more than just ‘yes and’!

LAWRENCE EVANS  THE ART OF SUBTEXT (acting )

Subtext comes in several different forms. Written subtext, character subtext, and visual subtext. From
the work of Etherege to Ibsen to Beckett, and others in between, we shall analyse and explore
practically how to use and engage with subtext from the page to the stage. And along the way we shall
look at the secret language of the restoration fan to the shadow moves of Stanislavsky that betray a
character’s inner thoughts.

The course will hopefully unlock how every actor strives to live in the world of hidden meaning.

We will mostly be using group work, which will include non-verbal acting, devising, and physical work, as well as the analysis into floor work that comprises Page to Stage. We will be following the dramatic principles of both Stanislavski and Uta Hagen.

This course is accessible for everyone. No prior knowledge of plays, genres or theatre practitioners is needed, but is always welcomed.

TOM NOYES GETTING THE 'FEELS' (singing)

Diving into the building blocks of different musical worlds

This course entails going deeper into the musical idioms and techniques that are used in musical
theatre, and singing generally.

Great musicals usually draw from these distinctive styles that are then shaped and incorporated into
a traditional musical theatre framework. For example: Spring Awakening taking from folk; Oklahoma
and Waitress from country; Chicago and Cabaret from jazz; and Phantom and Les Mis taking from the
classical tradition.

We can also include Jukebox Musicals, as well as original musicals that co-opt musical styles to
conjure a more compelling and authentic musical soundscape.

Practically, what does that mean for performing in a production/ singing live? How do we take these
idioms and put them in a theatrical context? We will cover how your versatility as a performer can suit
the style of a show, and adapt to different modes of expression.

In short, going deeper into varying musical worlds and working on the fundamental musical building
blocks that have informed the creation of the great shows and songs through time.

This course will be practical, active and fun, with bouts of group work. It is suitable for everybody who
wants to sing, irrespective of experience, level or ability.

JANICE DUNN AND TOM NOYES AND A 5,6,7,8!

What it takes to be a great musical theatre performer

Janice and Tom will be co-running a Musical Theatre course. This will focus on:

1. 1.  Music/ singing/ voice & expression.
   2.  Physicality and movement/ character/ story.
   3.  Most interestingly, what happens when a and b collide.

We will sometimes work together in a full group, and other times individually with half a group each;
and we will be working on songs and scenes from a variety of (great) musicals.

The course will examine the technical and expressive demands of both ensemble and solo work in
musical theatre. We will also explore some techniques for supporting the demands of performing in
musicals.

You do not have to be able to read music, or be dance trained, or even have performed in musicals to
do this course. (Though it's also obviously not a disadvantage.) It will however be a physically active
course, and people should be prepared for that, within reason. No-one will be expected to sing solo if
they don’t wish to.

It will be fun, inquisitive, with lots of useful takeaways on style, techniques, preparation and expression.

JACK GOGARTY. USING THE SELF (acting)

Exploring character choice for actors

We will be exploring character choices for actors, initially by looking at what makes us ‘us’, and what
unique and useful qualities we can bring to our characters from within ourselves, rather than
cosmetically creating characteristics, and ‘sticking them on’.

We’ll do this through a number of exercises and observations, focussed on revealing character.

Then we will explore monologues and duologues and apply the outcomes.

We will also dig into how to approach new text, how to annotate, and make new choices; specifically
for monologues, and not make it feel like we are just ‘doing a speech’!

This is perfect for auditions for societies, drama schools, for productions, self-tapes, or simply to
expand your actor’s toolbox.

LAWRENCE EVANS    AND ALSO THE DAFODILS (acting / devising)

Creating a piece of non-naturalistic drama from scratch

Using source material from writers such as Orton, Bennett, Pebbles, J M Barrie, and others, together
with nursery rhymes, we shall create a new piece of non-naturalistic drama where all the characters
live and interact in one theatrical world.

This devising process will utilise a range of useful practical exercises to create both character and
narrative from scratch.

The course will take inspiration from text, rhyme and story, and via the imagination of the group, create
something singular and meaningful. The devising process itself offers new creative challenges to
actors, around character, context and ensemble playing.
It will be fun and focussed, and we’ll build an entire new world of varied characters throughout the
week.

The work will be suitable for all levels of experience, and physically accessible for everyone.