Alberta, Canada
Movement Level I - Beginning

In Introduction to Teaching Mask, Allison Williams gives you a toolkit of mask and movement exercises to teach students to make big, confident physical choices, to work in their bodies, and play different characters - masked and unmasked. Access to masks is required, but previous experience with masks is not.

Close reading is an activity that puts curriculum standards into practice and it can be easily applied to the drama classroom. Close reading asks a lot of your students. They have to read and think at the same time. This course teaches drama teachers how the close reading process works, and gives them exercises and tools to apply it in the classroom.

This seven-part series is designed to transform that gaggle of actors cluttering your backstage from cumbersome extras into nothing less than the very center of your production. Instructor Michael Calderone leads this course, through games and exercises geared to maximize your ensemble for your next production. These lessons are based on the ensemble technique that he's been using for the last 30 years, called the shoestring method. The ensemble has a responsibility to work as one, and no role is more important than another. Without each actor playing their part, the other actors cannot tell the story to the best of their abilities. So join Michael in learning more about this exciting, practical and dramatic method.

Viewpoints is used to create dynamic moments of theatre by simply existing on the stage. However, Viewpoints is more than just an acting technique to understand your own physicality and more than a directing technique to create “ah-ha!” moments on stage. It is first and foremost the philosophy that to create an organic performance, you must see obstacle as opportunity, and that by simply standing in space, your creativity can spark. This course by Erin Carr will help your students discover fresh impulses that motivate their performance in the moment. We will go through the Viewpoints technique, as created by Mary Overlie, and learn how to tap into kinesthetic awareness as individuals and as an ensemble. Through this style of play, students learn to release their thoughts on what they “should” do, and instead just respond organically to their surroundings and ensemble! We’re going to break down each of the Viewpoints, there’s lots of visual demonstration, so you can see each Viewpoint in action, and I’m going to provide tips and side coaching examples.

In Introduction to Teaching Mask: 2nd Edition, Allison Williams gives you a toolkit of mask and movement exercises to teach students to make big, confident physical choices, to work in their bodies, and play different characters - masked and unmasked. By working through the exercises in this course, you, the teacher, will also gain an understanding of basic physical acting and learn some easy specific tools to coach your students – not just in mask, but in all their performance work. Access to masks is required, but previous experience with masks is not.