A bridge between the first and second year of full-time training, or a means to deepen seriously committed part-time study, this three-week summer intensive engages intermediate questions about the technique while addressing its application to genre-specific material and explicitly integrating voice and movement instruction into scene study classes taught by a master teacher of the Atlantic Technique, Practical Aesthetics.
Course Dates: July 10 – July 31, 2016
Room and Board: $1,800
Students may earn 4pts of college credit for the course by registering through New York University.
ABOUT SUMMER IN VERMONT
Master teacher Scott Zigler teaches the Advanced Scene Study class. This class is an opportunity to explore the application of the Practical Aesthetics technique to a designed sequence of challenging texts. Students who have completed at least one year of studio training are eligible to audition for this intimate ensemble, which draws from all of our programs. While in Burlington students dorm on the scenic University of Vermont campus and train in their studio facilities.
Students may register for the course through Atlantic or, for 4pts of college credit, through New York University. Room and board fees are separate from tuition and payable to Atlantic regardless of registration choice. First round auditions are held in late February and early March. Applications submitted after the audition dates will be considered if space is available.
In the first week, students focus on Classic Drama (Chekov, Strindberg, Ibsen, Williams, O’Neill, Miller, etc.). This allows students to re-examine the purpose and foundation of the analytic approach, and to explore fully the variety of ways the technique can be applied. By understanding the technique as malleable, advanced students can begin to understand the way the technique can best serve their unique creative needs as artists.
In the second week, students work on comedic scenes with a special emphasis on the demands of period and stylized comedy (English Restoration, Farce, Noel Coward and Oscar Wilde, etc.). This allows the actor to work on fulfilling the demands of precision, timing, and choreography that solid comedic work is built on, while still maintaining a level of moment to moment spontaneity based on action. Here we study the marriage of the spontaneous with the precise, a combination on which almost all stylized work is dependent.
In the third week of the program, students confront the challenges of texts with elevated language and/or worlds which are abstractions of reality. During this week students may work on anything from Shakespeare and Greek Tragedy to Beckett, Ionesco, and Genet, to American expressionism of the 1920s such as Sophie Treadwell and Elmer Rice.
By covering this range of material over the three weeks, students are encouraged to expand their range as actors both in terms of character and style by sustaining truthful moment to moment work over a broad spectrum of behaviors. Advanced questions surrounding character, emotion and emotional expressiveness, using the technique in rehearsal while working with a director and the acting traps sometimes encountered by actors using the Atlantic Technique are also addressed.
Movement, through instruction in Eginton Alignment, focuses on increasing the actor’s physical vocabulary and alignment, his or her range, and the ability to remain present in each moment. Advanced Vocal Techniques is an integration of the Jones work with the Fitzmaurice voice work. One of the unique advantages of the Vermont program is that frequently the movement and voice faculty attend scene study class and do hands on work with the actors alongside the acting teacher. This creates an incredible opportunity to integrate fully the voice and movement training into scene study work, offering actors support in experiencing completely the relationship between breath, alignment, impulse, and expression.