Download MFA PROGRAM IN ACTING - Columbia University School of the Arts

CO L UM B IA UNI VERS I T Y S CHOO L OF TH E ARTS
T H E AT R E A R T S
M FA P R O G R A M I N A C T I N G
The MFA Acting curriculum proceeds from a deep exploration of the text. Working primarily in
laboratory situations, this exploration takes many forms, drawing upon traditions as varied as
Japanese Noh, Commedia dell’Arte, the theories of Gordon Craig, and the techniques of Stanislavski,
among many others. It demands rigorous training of the voice, physical dexterity, a keen analytical
mind, and a willingness to take new approaches to the stage. But ultimately it is the text that is
paramount, and all acting training is focused on illuminating the great works of dramatic literature.
Although all periods and styles of drama are examined, special attention is given to the classics
including Greek tragedy, Shakespeare, Molière, and Chekhov. Students and faculty engage in
practical, historical, and theoretical research, trying out ideas and experimenting in a context
removed from the demanding presence of public performance. The study of the past is intended to
provide a foundation for a re-examination of the present, and as a starting point for creating a
theatre of the future. The program seeks to provide a range of resources and a variety of techniques
for students to use in their own ways. Ensemble work and collaboration are fundamental to the
training, while constant individual attention is integral to each student’s progress. The training
provided here, while focused on classic and modern theatre, provides graduates with the tools to
succeed in the contemporary American theatre, in television, and in film.
SAMPLE CURRICULUM
Fall Semester – Year 1:
Acting I – Niky Wolcz
Acting Studio I – Andrei Serban
Scene Study – Larry Singer
Voice and Text I – Andrea Haring
Acting Techniques – Ulla Wolcz
Voice and Text II – Kristin Linklater
Stage Combat – Qui Nguyen
Dance – Livia Vanaver
Spring Semester – Year 1:
Voice and Text II – Andrea Haring
Acting II – Niky Wolcz
Collaboration – Anne Bogart
Acting Techniques – Ulla Wolcz
Acting Studio II – Andrei Serban
History of Performance – Arnold Aronson
Viewpoints – Barney O’Hanlon
***Additional First Year requirements include one production assignment and Collaboration Weekend Workshop***
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Fall Semester – Year 2:
Acting III - Niky Wolcz
Acting Studio III – Andrei Serban
Acting Techniques – Ulla Wolcz
Viewpoints – Barney O’Hanlon
Voice and Shakespeare, I – Andrea Haring
Voice and Shakespeare, II – Kristin Linklater
Stage Combat – Qui Nguyen
Dance – Livia Vanaver
Clown – Gregor Paslawsky
Spring Semester – Year 2:
Voice and Shakespeare II – Andrea Haring
Acting Studio IV – Andrei Serban
Acting IV - Niky Wolcz
Acting Techniques – Ulla Wolcz
Scene Study – Rocco Sisto
Text Analysis – Gregory Mosher
Acting for Camera – John Erman
Year 3:
Acting Thesis Project: This full-scale production is presented by the third-year MFA acting class and
is directed by a faculty member or guest director. Recent directors have included Diane Paulus,
Andrei Serban, Karin Coonrod and Yuriy Kordonskiy. There is no written thesis required to
supplement this project.
Industry Showcases: In the spring of the third year, industry showcases are held in New York and Los
Angeles for agents, managers, and casting directors. Students work throughout the third year on
material selection and scene preparation.
Professional Development Workshops: Throughout the third year, students participate in
professional development workshops to prepare to enter the profession. Recent workshops have
been held by such professionals as Anson Mount, Marci Phillips, Todd Thaler, and Chandra Thomas.
Classic Stage Company Young Company: Third year MFA acting students and recent graduates
audition for Classic Stage Company’s Young Company, which is entirely made up of Columbiatrained actors. This company, which is Classic Stage’s Education and Outreach program, performs
Shakespeare productions for NYC schoolchildren and participates in teacher-training workshops.
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FACULTY
ARNOLD ARONSON (Chair, Professor) is a theatre historian and has taught at Columbia since 1991.
He is the author of Exhibition on the Stage: Reflections on the 2007 Prague Quadrennial; Looking into the
Abyss: Essays on Scenography (2005); American Avant-Garde Theatre: A History (2001); Architect of
Dreams: The Theatrical Vision of Joseph Urban (2001); American Set Design (1985); and The History and
Theory of Environmental Scenography (1981), as well as chapters in several anthologies. In 2007 he
served as the first non-Czech General Commissioner of the Prague Quadrennial of Stage Design and
Theatre Architecture. Prof. Aronson served as the editor of Theatre Design & Technology from 1978 to
1988. His articles have appeared in The Cambridge History of American Theatre, Cambridge Guide to
World Theatre, The Drama Review, American Theatre, Theatre Forum, Theatre Research International, and
the New York Times Book Review, among many others. Prior to coming to Columbia in 1991, he chaired
the theatre departments at Hunter College and the University of Michigan and has also taught at
Cornell University and the University of Virginia.
Prof. Aronson regularly teaches classes in theatre history, as well as seminars in such topics as the
History of Stage Design; the Theory of Comedy; and American Avant-Garde Theatre.
ANNE BOGART (Professor; Concentration Head, Directing) is the Artistic Director of the SITI
Company, which she founded with Japanese director Tadashi Suzuki in 1992. She is the recipient of
two Obie Awards, a Bessie Award, a USA Fellowship, a Rockefeller Fellowship, and a Guggenheim
Fellowship. Recent works with SITI include Under Construction; Who Do You Think You Are; Radio
Macbeth; Hotel Cassiopeia; Death and the Ploughman; La Dispute; Score; bobrauschenbergamerica; Room;
War of the Worlds; Cabin Pressure; The Radio Play; Alice’s Adventures; Culture of Desire; Bob; Going,
Going, Gone; Small Lives/Big Dreams; The Medium; Noel Coward’s Hay Fever and Private Lives; August
Strindberg’s Miss Julie; and Charles Mee’s Orestes 2.0. Operas include Nicholas and Alexandra (Los
Angeles Opera), Marina: A Captive Spirit (American Opera Projects), and Lilith and Seven Deadly Sins
(New York City Opera).
Bogart is the author of three books: A Director Prepares, The Viewpoints Book and And Then, You Act.
JOHN ERMAN (Adjunct Assistant Professor) was born in Chicago and raised in Southern
California. He became a Theater Arts Major at UCLA and, after acting for five years, channeled his
energies into casting. At 24 he became Head of Television Casting at 20th Century Fox. The turning
point in his career came when he was asked to direct the first Off-Broadway production of One Flew
Over the Cuckoo’s Nest at the Player's Ring Theater in West Hollywood. It was while directing
television comedies such as My Favorite Martian and That Girl that he was hired to direct the series
Peyton Place. John then went on to direct Marcus Welby, M.D. Next came Green Eyes, a film which
starred Paul Winfield and Rita Tushingham. This earned him the Humanitas Prize and the
opportunity to direct Roots, for which he won an Emmy nomination as Best Director, and the first of
his Director's Guild Awards. Who Will Love My Children, starring Ann-Margret, earned him an Emmy
for Best Director as well as the first of his Christopher Awards and also won its star a Golden Globe
together with an Emmy nomination. After that, the two went on to do many more films together,
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including A Streetcar Named Desire, which won him yet another Emmy nomination as Best Director
and Ann-Margret another Golden Globe; The Two Mrs. Grenvilles, which was nominated for an Emmy
in the Best Picture category; Our Sons, his second movie tackling AIDS, in which Ann-Margret's costars were Julie Andrews and Hugh Grant; Queen, with Halle Berry and Danny Glover; and Scarlett, an
8 hour mini-series for CBS. An Early Frost with Gena Rowlands and Sylvia Sidney won John his second
Director's Guild Award and his fourth Emmy nomination for Best Director. It also received an Emmy
nomination for Best Picture. The Attic, which was also nominated for an Emmy as Best Picture,
earned its director the Peabody Award, together with his second Christopher Award. Since then,
John Erman has gone on to direct Bernadette Peters in David; Bette Midler and John Goodman in
Stella; Mary Tyler Moore and Bernadette Peters in The Last Best Year; Tyne Daly in The Last To Go; and
Louis Gossett Jr. and Bruce Dern in Carolina Skeletons. He directed Joanne Woodward and James
Garner in the Hallmark Hall of Fame adaption of Anne Tyler's Pulitzer Prize-winning novel Breathing
Lessons, and recently, also for Hallmark, The Boys Next Door with Nathan Lane, Mare Winningham
and Tony Goldwyn. In recent seasons, he has done 3 mini-series for CBS. Mr. Erman completed his
fourth film for the Hallmark Hall of Fame, The Blackwater Lightship. It stars Angela Lansbury and
Dianne Wiest. He also teaches in the film departments of Columbia University and at Fordham.
ANDREA HARING (Lecturer). A director, actress and voice teacher, Andrea Haring is the associate
director of The Linklater Center for Voice and Language and the coordinator for Linklater Teacher
Training. Haring is currently on faculty at Columbia University School of the Arts, Circle in the Square
Theatre School, and Fordham University. She previously taught at Yale School of Drama, The New
Actor's Workshop, New York University Tisch Undergraduate Drama, and Dartmouth College. She
regularly teaches at theater schools and companies in Spain, Italy, Finland, Germany and Iceland. As
vocal coach and member of The LAByrinth Theater Company, Haring has worked on The Little Flower
of East Orange, Jack Goes Boating, School of the Americas, The Last Days of Judas Iscariot, Our Lady of
121st Street, Jesus Hopped the "A" Train, and Guinea Pig Solo. Haring coaches extensively on and offBroadway, including for Reasons To Be Pretty, Suddenly Last Summer, and Bridge and Tunnel.
KRISTIN LINKLATER (Professor) trained at the London Academy of Music and Dramatic Art. She
was the Master Teacher of Voice at New York University from 1965 to 1977, while also working with
the Open Theater; the Negro Ensemble Company, Stratford, Ontario; the Guthrie Theatre; and
Broadway shows. She was cofounder of Shakespeare & Company in Lenox, Massachusetts, in 1977.
She has received major grants from the Ford Foundation, the Rockefeller Foundation, the Mellon
Foundation, and the National Endowment for the Arts. She is also a 1981 Guggenheim Fellow and a
lecturer, writer, and actor, playing the title role in King Lear, produced by The Company of Women,
her all-women Shakespeare company, co-directed with Carol Gilligan. She is the author of Freeing the
Natural Voice (1976)—the revised and expanded edition of which was published in 2006—and
Freeing Shakespeare's Voice (1992). She taught at Emerson College in Boston from 1991 to 1997.
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GREGORY MOSHER (Professor) has directed and produced nearly 200 stage productions at
Lincoln Center and the Goodman Theatre, on and off-Broadway, at the Royal National Theatre and in
London’s West End. Among these are John Guare’s The House of Blue Leaves and Six Degrees of
Separation, David Rabe’s Hurly-Burly, the South African township musical Sarafina!, Richard Nelson’s
musical adaptation of James Joyce’s The Dead, David Mamet’s Glengarry Glen Ross, and John
Leguizamo’s Freak. Mosher’s collaboration with Mamet began with American Buffalo in 1975 and
continued for over two decades and more than twenty works. He has produced or directed new work
by such theatre artists as Samuel Beckett, Tennessee Williams, Arthur Miller, Leonard Bernstein,
Jerome Robbins, Elaine May, Spalding Gray, and Nobel Prize–winners Wole Soyinka and Derek
Walcott. He has received every major American theatre award, including two Tonys. He has directed
the Columbia University Arts Initiative since its inception in 2004; in addition to creating its ongoing
programming, he orchestrated the special residencies of both Václav Havel and director Peter Brook
at Columbia.
ANSON MOUNT (Adjunct Assistant Professor) Anson Mount received his BA from the University
of the South (1995) and his MFA from Columbia University (1998). He began his professional career
at Manhattan Theater Club playing the leading role in Terrence McNally's Corpus Christi for which he
was honored by The Drama League in 1998. Shortly after this, Anson made his feature film debut in
the starring role as “Tully Coats” in the independent film Tully, for which he received critical praise. The film itself won several Film Festival awards as well as several nominations for Independent Spirit
Awards, including Best Picture. Following his debut, Mount was next seen starring opposite Britney
Spears in Paramount Pictures Crossroads, followed closely by his opportunity to act opposite Robert
DeNiro in the Warner Bros. film City By the Sea, directed by Michael Caton-Jones. His other film
credits include the independent film Poolhall Junkies opposite Christopher Walken, Curtis Hanson’s In
Her Shoes, and Urban Legends: Final Cut for Columbia Pictures. He also co-starred in the Miramax film
Battle of Shaker Heights as seen on the HBO series Project Greenlight. Recently, Anson produced and
starred in an independent film called Cook County which has earned awards at several major film
festivals including South By Southwest, Hollywood, AFI Dallas, Nashville, and others. Anson also just
completed shooting three independent features: Burning Palms with Dylon McDermott and Zoe
Saldana; Last Night starring Keira Knightley; and the Screen Gems feature Straw Dogs directed by Rod
Lurie and starring Kate Bosworth and James Woods. Mount’s television credits include series
regular roles on Conviction for NBC and Line of Fire for ABC (also directed by Rod Lurie). Although
Mount is best known for his film work, he continues to build his theatre career, most recently with
The New Group and their production of Mourning Becomes Electra directed by Scott Elliot. He also
performed opposite Alan Cumming and Steven Spinella in the first English-speaking production of
Jean Genet’s Elle. He is a member of the Actors Centre Workshop Company. 5
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QUI NGUYEN (Adjunct Assistant Professor) is originally from Arkansas and is now a Brooklynbased writer and fight director. His scripts include the critically-acclaimed Vampire Cowboys
productions of Fight Girl Battle World; Men of Steel (published by Broadway Play Publishing); Living
Dead in Denmark; Stained Glass Ugly; A Beginner’s Guide to Deicide; Vampire Cowboy Trilogy (published
in Plays And Playwrights 2005); and the upcoming Soul Samurai. Other scripts include Bike Wreck
(Youngblood; Metropolitan Playhouse) and the off-Broadway production of Trial By Water directed
by John Gould Rubin (Ma-Yi Theater/Queens Theatre in the Park; published in Savage Stage). Qui is
an Advanced Actor/Combatant with the Society of American Fight Directors and has worked as an
instructor & fight director for such places as LAByrinth Theater, Ma-Yi Theater, Ensemble Studio
Theatre, The Public, HERE Arts Center, Partial Comfort Productions, The Brick, Nosedive
Productions, Katharsis Theater, City Lights Youth Theatre, and The Rabid Vamps Fight Studio.
Honors include The New Dramatists Playwriting Fellowship, nytheatre.com’s 2004 People of the
Year, nomination as Best Choreographer by the 2007 & 2005 NY Innovative Theatre Awards, and
featured as a “Playwright to Watch” by Time Out New York. He is a co-director of the Ma-Yi Writers
Lab and an alumnus of Youngblood.
BARNEY O’HANLON (Adjunct Assistant Professor) has been collaborating with Anne Bogart since
1986. As a member of SITI Company, he has performed nationally and internationally with
productions of Hotel Cassiopeia, Intimations for Saxophone, Midsummer Night’s Dream, La Dispute,
Hayfever, bobrauschenbergamerica, War of the Worlds, War of the Worlds—the Radio Play, Cabin
Pressure, Culture of Desire and Small Lives/Big Dreams. He most recently directed and choreographed
the world premiere of Systems/Layers, a dance-theatre collaboration with SITI Company and
Kentucky-based band Rachel’s. He has also choreographed and appeared in the world premiere of
Nicholas and Alexandra with Placido Domingo at Los Angeles Opera, and Lilith and The Seven Deadly
Sins at New York City Opera, as well as additional Bogart productions at the Alley Theatre, Trinity
Repertory, River Arts Repertory, and Opera/Omaha. Other regional credits include Tina Landau’s
1969 for the Humana Festival at ATL, Stonewall for En Garde Arts, Deadly Virtues and Hamlet, also for
ATL, and Jon Robin Baitz’s A Fair Country for Steppenwolf. His choreography has appeared at BAM’s
Harvey Theater, New York Theatre Workshop, New York City Opera, Los Angeles Opera, and the
Prince Music Theatre.
GREGOR PASLAWSKY (Adjunct Assistant Professor) has worked in New York as an actor, teacher
& designer since 1985. He received an MFA in acting from Temple University and has studied at the
Ecole Philippe Gaulier in London. He specializes in teaching acting styles such as Melodrama and
Clown, leading workshops at numerous universities and theater companies. He has taught at
Columbia University School of the Arts, Barnard College, and the University of the Arts in
Philadelphia. He has worked with Peter Brook, Jacques Le Coq, Billie Whitelaw, Priscilla Smith, Anne
Bogart, and Andrei Serban. He has acted with the London Shakespeare Company and at various
regional theaters and New York venues such as Lincoln Center Institute, La Mama, Soho Rep, and
PS122. He also worked with Bill Irwin on the workshop for his Broadway show Largely New York.
Recent acting credits include: The Skin of Our Teeth, Rosencrantz and Guildenstern are Dead, The Hot L
Baltimore (Williamstown Theatre Festival); Hotel Universe, Princess Turandot (Blue Light Theatre). His
design work includes The Sadness of Others at LaMama Etc., Bad Science at Dance Theater Workshop,
and If I Were You at The Kitchen with 3-Legged Dog.
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ANDREI SERBAN (Professor; Director, Oscar Hammerstein II Center for Theatre Studies) studied
at the Theatre Institute in Romania. At La MaMa Experimental Theatre Center, he directed Fragments
of a Greek Trilogy, which won several Obie and international awards and has been performed at more
than 20 international festivals. He worked with Peter Brook at Brook's International Theatre Institute
in both Paris and Persepolis. At New York's Lincoln Center he directed Aeschylus' Agamemnon and
Chekhov's The Cherry Orchard, the latter of which won a Tony Award for Best Revival. He has directed
at the Public Theatre, Yale Repertory, the Guthrie, Circle in the Square, Delacorte, San Francisco's
A.C.T., the American Repertory Theatre in Cambridge, the Royal National Theatre in London,
Schauspielhaus Bochum, and the Comedie Francaise in Paris, among others. He acted as general
director of the Romanian National Theatre and has staged opera productions all over the world.
LARRY SINGER (Adjunct Assistant Professor) is one of the leading acting teachers of his
generation. It is with 20 years of teaching experience that Larry has established the Larry Singer
Studios, where he continues the rich traditions of Actors’ Training, while exploring new methods to
support every actor’s endeavor to prosper as an artist. Larry teaches classes in Acting Technique &
Scene Study for working actors and those committed to pursuing professional careers. Additionally,
Larry is frequently hired by actors to prepare for their auditions and works as a coach in theatre and
on films and television, working with such rising young stars as Kerry Washington, Anson Mount
(SOA ’98), Teresa Palmer and Hayden Christiansen. He has also directed many productions for
various conservatories, staging plays by Shakespeare, Odets, Shaw, Inge, Shanley, Shepard, as well
as original works. As an actor, Larry made his Broadway debut in the comedy Gemini; worked OffBroadway as the lead in Andora, by Max Frisch; and had various roles at Ensemble Studio Theatre
and Circle Rep Lab. Larry’s acting career also included work in regional theatres, on commercials and
television, and in film.
ROCCO SISTO (Adjunct Professor) holds a BA from the University of Illinois at Chicago and an MFA
from the NYU Tisch School of the Arts, Graduate Acting Program. He has worked in theatre, film and
television in New York, Los Angeles, Canada and Europe. He has also worked in Regional Theater
throughout the United States. He is founding member of Shakespeare and Company of Lenox, MA,
where he taught acting and text for their intensive Shakespeare workshops from 1979 through 1995.
Considered a master teacher of text, he has acted and directed for the company in over two dozen
projects. In addition to his Shakespeare and Co. teaching credits, he has taught acting at Columbia
University, The Actor’s Center NY, Fordham University, and the California Institute of Arts (CAL
ARTS). Broadway: Amadeus, A Month in the Country, The Comedy of Errors. Recent Off-Broadway:
Ipheginia 2.0, Signature Theatre; Kaos, New York Theatre Workshop; Souls of Naples, Theatre For A
New Audience; and many plays for the New York Shakespeare Festival and other theatres in New
York. Regional theatre credits include ACT-Seattle and Seattle Rep., Mark Taper-LA, The Guthrie,
Dallas Theatre Center, Center Stage Baltimore, among others. Films include Donnie Brasco,
Frequency, Illuminata, Eraser, Carlito’s Way and the cult hit The American Astronaut. Television: The
Sopranos, Law & Order, also Law & Order: CI, Homicide, CSI, Close to Home, Star Trek The Next
Generation, Alias, N.P.Y.D. Blue, and J.A.G.
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LIVIA VANAVER (Adjunct Assistant Professor) is Artistic Director of The Vanaver Caravan
Dancers and Musicians. Over the past 33 years, she has toured with her Company throughout the
U.S. and abroad, collecting and performing dance and music. From the Bienale in Lyon, France to
touring for the U.S. State Department in Greece, Italy, Cyprus and Tunisia, to the Jacob’s Pillow
Dance Festival to the Redlands Bowl, California, The Vanaver Caravan has been delighting audiences
of all ages. Livia is a graduate of NYU Tisch School of the Arts. She is best known for her work in the
field of multi-cultural dance and using traditional forms, rhythms and styles as springboards for
original work. Livia brings her vast knowledge and love of the dance treasures of the world to
students of all ages and is a pioneer in the arts in education movement.
DIANNE WIEST (Adjunct Professor) was most recently seen in The Forest at Classic Stage
Company and before that, Arthur Miller's All My Sons on Broadway. Other New York theatre
appearances include The Seagull at Classic Stage Company, Wendy Wasserstein's Third, Memory
House by Kathleen Tolan, Salome, Oedipus, The Shawl, Hunting Cockroaches, After the Fall, Beyond
Therapy, and The Art of Dining. Film credits include The Purple Rose of Cairo, Hannah and Her Sisters
(Oscar), Radio Days, September and Bullets over Broadway (Oscar), all by Woody Allen. She also
appeared in Parenthood (Oscar Nomination), Edward Scissorhands and The Birdcage. She was last
seen on screen in Charlie Kaufman's movie Synecdoche, New York and the HBO series In Treatment
(Emmy) and will next be seen in John Cameron Mitchell's Rabbit Hole.
NIKY WOLCZ (Associate Professor) studied at the Theater Universitat in Bucharest. For decades,
he has been in high demand as an actor, teacher, and director throughout Europe. He has been on
the faculty at Columbia since 1996, where his productions have included Twelfth Night, The Caucasian
Chalk Circle (directed with Andrei Serban), Ionesco's Bald Soprano and The Lesson, and Turandot
(directed with Ursula Wolcz). European directing credits include La Dispute, The Birds, Scapin,
L'Adororation, The Shadow, Cyrano de Bergerac, A Midsummer Night's Dream, Macbeth, Waiting for
Godot, and The Temptation of St. Anthony. In opera, he has directed productions of Don Giovanni, The
Magic Flute, Il Campiello, La Boheme, Roberto Devereaux (with Andrei Serban), Prince Igor, Contes
d'Hoffman, The Merry Widow, L'Italiana, and Pagliacci. He made his Metropolitan Opera debut in
December 2003 with his choreography for the company premiere of Benvenuto Cellini.
ULLA WOLCZ (Lecturer) attended the Theatre Academy in Bucharest. She has performed in
Frankfurt, Essen, Berlin, Stuttgart, Bochum and Berna and at theatre festivals in Holland, Venice, Paris
and Verbier. Her important roles include Rosalind, Lady Macbeth, Luisa, Anja and Nina from works as
varied as those of Shakespeare, Chekhov, Brecht, Gozzi, Goldoni, Lorca, Buchner, Calderon and Gorki.
She previously taught acting at the Musik-Hochschule Frankfurt. Since 1996, she has taught acting at
Columbia University.
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