AUDITIONING: PREPARED AND COLD READINGS

K. Godman
Summer; 8 weeks

Sharpen your skills and build your confidence in prepared and cold readings - the auditions where you win - or lose - the roles. This class will explore the art of preparing scenes for auditions and for dealing with the dreaded "cold" reading request, sharing practical ideas along the way to help you showcase your talent to its best advantage. Classes will feature the workshop of scenes that will require regular out-of-class preparation.

Prerequisite: Basic Scene Study, equivalent experience, or permission of instructor.

Summer

Mondays 6:30 p.m. - 9:30 p.m.; July 7 - August 28. $300. K. Godman. (No class August 11. Additional class Thursday, August 28.)

 
ACTING FOR THE CAMERA

J. Jacobsen
Fall, Winter, Spring, Summer; 10 weeks

Develop an awareness of the special needs of the camera and focus on your ability to be free in front of it. Learn the importance of technique, remove self-conscious behavior, and use yourself to fill a character. Taught by John Jacobsen, award-winning director and instructor at TheFilmSchool in Seattle.

Summer

Thursdays 6:30 p.m. - 10:30 p.m.; July 3 - August 7. $465. J. Jacobsen. (Additional classes on Sunday, July 27, and Sunday, August 3, 6:00 - 10:00 p.m. both days.) FULL. To get on the waiting list for this class, call the Freehold office at (206) 323-7499.

 
AUDITIONING FOR THE CAMERA

S. Enriquez
Fall, Winter, Spring, Summer; 8 weeks

Learn the skills needed for successful auditions and gain experience in front of the camera. This class will cover audition skills for typical on-camera work in Seattle: commercials, corporate videos, and narrative feature films. Actors will discover how to make decisions that enable them to work fast and deep, deal with the size of performance, and prepare for both cold readings and the general interview. Casting directors and talent agencies will be examined, headshots and resumes will be discussed.

Summer

not scheduled

 
AUDITIONING

K. Godman, B. Murphy
Fall, Winter; 10 weeks

Learn how to make the best possible impression in a wide variety of audition situations. This course will cover classical and contemporary monologues, cold readings, interviews, preparation and audition-specific acting technique. Emphasis will be on auditions for stage.

Summer

not scheduled

 
ACCENT STUDY

B. Murphy, T. Hyland
Winter, Summer; 5 weeks

This approach to accents and dialects is both conventional and unconventional. Students will learn the key sounds by ear, as well as through practicing and recording. Students will work in depth physically and vocally each day. You will deal with vowel and consonant shifts when learning an accent, but also put your accent work into action in scene work. Students will work on one accent at a time and improvise in that accent. Performers will have the opportunity to be courageous in making big choices and having fun with accents while never being intimidated. This class will focus on Standard British and Cockney accents.

Summer

not scheduled

 
DANCE THEATRE

C. Khambatta
Fall; 6 weeks

A six-week workshop for directors/choreographers, dancers, and actors interested in exploring the crossroads where kinesthetic, visceral dance and image-based, physical theatre meet. Sessions will focus on tools for generating performance that integrates abstract movement into theatre and connect inner life into dance. Using both interpretive and generative skills, directors/choreographers and performers foster work that is authentic, expressionistic, and rooted in moment to moment presence and life.

Summer

not scheduled

 
DIRECTING AND ACTING FOR THE CAMERA

J. Jacobsen
Winter

This course is an essential hands-on laboratory for directors and actors who want to work in film and television. All scenes are shot film style on a high end digital camera. Directors will explore every facet of the directorial process, learning what a set is like, how scenes are structured, how to create scene coverage by creating storyboards and shot lists and what the important issues for a director are. This class will teach you to interpret and translate the written ideas of the screenplay into cinematic form and improve your abilities to communicate with actors. Actors will learn to identify the specific demands of the scene and how to tailor their performance to the needs of the camera. Instruction emphasizes developing the ability to focus on character and intent while navigating the external distractions of a movie set. Actors will work on a variety of scenes being assigned a new director for each new scene.

Summer

not scheduled

 
DIRECTORS' LAB

B. Yorkey
Spring; 8 weeks

Directors - You will explore every facet of the directorial process, learning what a set is like, how scenes are structured, how to create scene coverage by creating storyboards and shot lists and what the important issues for a director are. This class will teach you to interpret and translate the written ideas of the screenplay into cinematic form and improve your abilities to communicate with actors.

Summer

not scheduled

 
PLAYWRITING I: EXPLORING THE CRAFT

A. Wheeler, V. Delaney, E. Heffron, P. Mullin
Fall, Winter, Spring, Summer; 10 weeks

Theatre tells stories using actors, with powerful objectives, living at specific moments in time. Explore the many ways playwrights create interesting, truthful characters and dynamic stories using the language of the stage: words, movement, light, sound, and silence. This interactive class includes both sit-down writing exercises, and up-on-your-feet work, so please dress comfortably.

Summer

not scheduled

 
PLAYWRITING II: THE PLAYWRIGHT'S VISION

A. Wheeler, E. Heffron
Fall, Winter, Spring, Summer; 8 weeks

The playwright's vision gives drive and shape to his or her art. This course will explore various theatrical styles - Comedy, Absurdism, Realism, Docudrama and Personal Narrative - that can serve the needs of that vision, and provide you with a broader pallette from which to tell your story. Using both on-the-page and on-your-feet exercises, students will work towards completing two, wildly different one-act plays. Prerequisite: Playwriting I or instructor permission.

Prerequisite: Playwriting I or permission of the instructor.

Summer

not scheduled

 
PLAYWRITING III: STRUCTURE AND ACTION

A. Wheeler, E. Heffron
Spring; 10 weeks

A shipwright builds ships. A wainwright builds wagons. A playwright builds and shapes dramatic events. Using the language of the stage - words, sound, music, movement, light, rhythm, silence - we will explore different ways of developing a theatrical structure to house your play. The focus is on honing the craft of dramatic storytelling through action, objectives and structure with the goal of completing a full length draft of your play.

Prerequisite: Previous playwriting experience or instructor permission.

Summer

not scheduled

 
SINGING AND THE ALEXANDER TECHNIQUE

L. Compton, L. Neare, M. Goodrich
Winter, Spring; 8 weeks

Using the Alexander Technique to explore how sound follows thought, we will invite our whole selves to ring and experiment with our discoveries during individual coaching. Bring your audition pieces or your shower-time songs. Open to anyone who wishes to explore the world of sound and singing.

Summer

not scheduled

 
SOLO PERFORMANCE AND PRESENTATION

M. S. Kaminski
Fall, Winter, Spring, Summer; 9 weeks (4 in summer)

Learn to find the spine of a story by drawing heavily from your own life. Students explore the various elements of: performance techniques, music, character work, movement and storytelling. Through improvisation and writing exercises, you will create an outline and begin looking at the staging of your show. We culminate in an invited performance of our works-in-progress, and you leave the class with a repeatable technique of how to conceive, develop, and produce a solo performance.

Summer

Sundays 6:00 p.m. - 10:00 p.m., Tuesdays 6:00 p.m. - 10:00 p.m.; July 20 - August 12. $375. M. S. Kaminski.

 
SPOKEN WORD AND PERFORMANCE POETRY

D. Arrindell
Winter, Summer; 6 weeks

Explore the art of performance poetry, engage in critique/analysis of past and present performers and poetic styles through text, video and audio samplings, find/develop/refine our own voices through writing exercises and take written poems on the journey to become spoken word pieces/performance poems. Taught by Daemond Arrindell, Slammaster of the Seattle Poetry Festival.

Summer

Mondays 6:30 p.m. - 9:30 p.m.; July 21 - September 2. $195. D. Arrindell. (No class August 4 or September 1. The final class will be Tuesday, September 2.)

 
Progression: Stage Combat

STAGE COMBAT

G. Alm
Fall, Winter, Spring; 10 weeks

This series offers instruction in stage combat focusing on rapier and dagger, unarmed, and broadsword techniques. The ongoing exploration of nonviolent physical conflict helps the actor create the illusion of violence in a safe but dramatically effective way. Students who take the full three quarter progression may be eligible to take the Skills Proficiency Test offered by the Society of American Fight Directors at the end of Spring Quarter. Students joining the class in Spring Quarter must have previous experience and permission from the instructor.

Summer

not scheduled

G. Hammond, K. White
Fall

In this Voice-Over class we will identify the special qualities you bring to the voice-over world and how to maximize them using breath work, articulation and using your entire body and imagination. We will address the physical skills necessary for optimal recording as well as how to sell the product and how to market yourself. Students will learn how to take the listener on a journey, be taught the importance of operative words, acquire familiarity with equipment, learn about the resources available to voice-over talent and acquire audition tips. The final class will culminate in obtaining experience in a professional recording studio.

Summer

not scheduled

 
YOGA FOR ACTORS

J. Jobaris
Fall

This yoga class is specifically structured to give actors access to the practical tools of yoga. Emphasis will be placed on breathing techniques (pranayama) for performances, vocal work and auditions. Through the physical and the energetic bodies, we will learn (and play!) with the ancient yogic principles of the gunas to gain understanding of/access to the dynamic energy systems of the body/"chi." Focus will also be placed on alignment, receptivity, intention and centering to assist the actor in skillfully harnessing the body as part of the entire acting instrument. The final aim will be to support your development and maintaining of a personal yoga practice for your use in acting and in life!

Prerequisite: No previous experience necessary.

Summer

not scheduled