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Course A: ACTING APART … A Basic Acting Course Tutor: CHRISSIE POULTER Do you want to take the plunge into the magical world of acting for live theatre? Do you lack experience? Confidence? A bit of both? So do some of the characters in the plays you know and could come to love! Why not lend them your understanding of the human condition and bring them to life on stage! And have fun finding out about Acting apart … (You’re right - never start a sentence with ‘and’ … unless you’re an actor … then it’s ok!) We’ll start with a series of games and exercises designed to awaken your imagination, free-up your inner potential and make a little ‘magic’ along the way. In case that’s too much too soon we’ll do some careful relaxation and some basic voice work to balance the day. We’ll create an ensemble to make sure that the whole group feels easier at the notion of working together… and apart! This course will introduce you to some of the many and varied elements needed when making a piece of theatre. We will explore the actor’s use of space and body language for communication .. and we’ll have a laugh along the way. We will work to develop the techniques involved in creating a believable character, a presence on stage, one which will engage an audience. It’ll be a lively and rewarding week – come and play! Course B: TALKING PICTURES/MOVING TEXT An Exploration of Physical Theatre and Storytelling Tutor: ANDY CROOK This workshop will be a playful investigation into the creation of images, words and stories. Starting with simple movements and gestures, we will learn how to find new means of expression through the exploration of our bodies in time and space and through changing the angles at which we look at things. We will learn to play physically with thoughts and images and to make strong connections to the impulses we have to tell a story. We will look at old stories, as well as creating new ones. We will play with rhythm, movement and words in order to make the familiar exciting and new, and to make the strange both recognisable and thought provoking. We will open up our physical imaginations and delight in the unexpected. Please bring a story to play with. Course C: BOLDNESS HAS … MAGIC IN IT! Directing the Contemporary Play Tutor: THOMAS CONWAY ‘Whatever you can do, or dream you can, begin it. Boldness has… magic in it’ (Goethe) Designed for the beginner as well as the advanced director, the course is a primer on directing plays that have been written in the last 40 years. The course opens up for participants the fun – the thrill and exhilaration in the midst of the challenge – of directing ‘the contemporary play’. Contemporary plays explore modern experience across a range of styles. Participants can expect to gain a skills set grounded in a classical approach to directing, one that is nonetheless adaptable to the requirements of the individual play. The director’s vision, taking its cue from the writer’s imagination is at the heart of what the course explores. Accordingly, the course aims to have participants build three pillars to their individual directorial vision: (1) Ideas (2) Judgment (3) Confidence The course, hereafter, brings participants through the task faced by all directors: that of stimulating the actor’s imagination and, at the same time, of giving the actor a solid platform from which to explore his/her character. To this end, the course will ask directors to consider what it is the actor sees, as opposed to what it is the actor feels, in his/her endeavours to connect with the character. The plays explored are some of the finest written in the last 40 years, from such writers as Samuel Beckett, Harold Pinter, Brian Friel, Caryl Churchill, Paula Vogel, Marina Carr, Martin McDonagh, Martin Crimp, Tracy Letts and Lucy Caldwell. The very best the contemporary theatre has to offer, they are also some of the most enjoyable, not least from the point of view of directing. Course D: PAGE TO STAGE Experienced Actors and Directors Tutor: CONALL MORRISON Calling experienced actors and directors - this one is for you! Conall Morrison will lead a sequence of workshops focusing on different methods of text analysis and how they relate to performance. How do actors employ ‘objectives’, and ‘actions’ and ‘subtext’ and yet not get bogged down in theories? How do directors usefully challenge and extend their own practice? How do actors and directors together, keep the imagination and sense of play, fully in motion? The work will aim to be intensive but enjoyable and illuminating. We will cover everything from Shakespeare and Synge to Brian Friel and Tom Murphy. Prepare to work in the area where the analytic mind fuses with the free-flowing imagination. Are you up for the challenge? Course E: LIGHTS … CAMERA …ACTION … Acting for Camera Tutor: JJ HARRINGTON This is a vigorous and invigorating week-long course in acting for camera aimed at both beginners, and those with some pre-existing experience of acting for stage or camera. The course aims to equip aspiring screen actors with the essential terminology and know-how that will enable them to transfer their talent painlessly from stage to screen. Details covered in the course include the creation of a basic awareness of camera; technical issues such as hitting marks, eye-lines, continuity, and how such issues relate to performance; the relationship between improvisation, rehearsal, theatre and film; the exploration of subtext through script analysis; exploration of physical memory and the repetitive demands of the shooting process; relationship between film director and actors. The course also features a detailed in-class examination of well-known screen performances; the staging, rehearsal and filming of scenes from day to day; playback and discussion of footage for the benefit of the performers; mock auditions and cold readings. All of these exercises focus particular attention upon the nuances of performance and how acting for screen demands a technical ability quite distinct from that involved in stage work. Course F: STRUCTURING A VISION. Playwriting Course Tutor: GAVIN KOSTICK Gavin Kostick, playwright and Literary Manager of Fishamble: The New Play Company, has worked with hundreds of Irish writers in getting their work on to the stage, to national and international success. If you have an idea, a vision, an urge to attempt to write for the theatre, Gavin will help you learn how to structure your idea for the stage. From the largest overview, to the detail of handling particular moments, this course will help you get the dramatic best from your writing. Through looking at a wide range of examples from ancient to 21 st century and via a set of stimulating discussions and exercises, the week will leave you with a portfolio of exercises – including your own complete tiny play – which will help you go on to write satisfying dramas in the future. To do this course you will need to have read and brought with you Anton Chekhov’s The Cherry Orchard, Tennessee Williams' A Streetcar Named Desire and Brian Friel’s Faith Healer . Other works will be supplied through the week. Numbers will be limited on this course so, if you're interested - book early.