Transformation & Emotion Methods - Rasaboxes, Alba Emoting, & Michael Chekhov

  • Transformation & Emotion Methods - Rasaboxes, Alba Emoting, & Michael Chekhov
  • Transformation & Emotion Methods - Rasaboxes, Alba Emoting, & Michael Chekhov
  • Transformation & Emotion Methods - Rasaboxes, Alba Emoting, & Michael Chekhov
  • Transformation & Emotion Methods - Rasaboxes, Alba Emoting, & Michael Chekhov
  • Transformation & Emotion Methods - Rasaboxes, Alba Emoting, & Michael Chekhov
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About this course


10 days

Term Start

Wednesday 12 to Saturday 22 July 2017

Entry Requirements

Applications are welcome from those aged 18+. Candidates should actively enjoy all aspects of practical drama work, be motivated, enthusiastic and prepared to devote time to the study of texts and rehearsal.


Why choose this course?

Understand and use emotion in your performance by exclusively combining three complimentary methods – Alba Emoting, rasaboxes and Michael Chekhov


Fee and Application Information


This course is delivered over 10 days of intensive full-time training.

How to Apply

Course Fees                    

Accommodation Fees (Tuesday to Sunday)              

All dollar prices correct on 18th November 2016 at an exchange rate of $1.24 / £1.00. For live currency exchange rates please click here.

Discounts are available to Rose Bruford College alumni – contact us for further information

Course content

In this first-ever workshop of it’s kind, Alba Emoting, Michael Chekhov and rasaboxes are combined to offer actors a unique and intensive experience into their emotional capabilities and become a true Athlete of Emotions.

The Alba Method Certification Level 1 (30 hours of Training)
An alternative to emotion memory and other psychological techniques for releasing, maintaining, and controlling emotional states on stage; The Alba Method is the result of more than 20 years of research by neuroscientist Dr. Susana Bloch with professional and student actors in Europe and South America.
 Alba Method identifies ...six "basic" emotions: anger, joy, sadness, fear, tenderness, and erotic love. These are the "primary colors" of emotion; all other emotions are "blends" of these. Each of the basic emotions has its own unique, identifiable set of effector patterns; emotional neutrality is also precisely patterned in the body. By establishing three aspects of these patterns—breathing, facial expression, and posture—an actor can enter and leave an emotional state at will.


The rasaboxes are a unique psychophysical approach to training actors is based on classical Indian theory found in the ancient text of the Natyasastra which suggests the aesthetic experience that theatre provides can be found in eight types of emotional essences or “Rasas”, produced both in the experience of the performer and shared with its audience members.

Instruction begins with expressive movement and expansive breathing exercises which enables the actor to create physical forms and gestures for the eight emotional states (fear, rage, love, wonder, laughter, the heroic / courage, sadness / pity, disgust ).  The interactive play of energy of these eight essences of emotion can manifest and be expressed physically and vocally in many varieties, shades and blends.

The rasaboxes training is improvisational and interactive at its core, it offers a performer and an ensemble specific tools and techniques for finding a truthful, fully embodied sense of presence and emotional specificity through direct physical engagement. It integrates rather than separates acting, movement and voice, engaging the whole instrument of the performer.


Michael Chekhov Technique 

Transformation is explored through the basic principles and exercises outlined in Michael Chekhov's book To the Actor. This includes psychophysical exercises and ensemble improvisation designed to develop the organic connection between the actor's sensations, creative imagination and expressive body through Chekhov's core exercises: Expanding/Contracting, Staccato/Legato, Radiating/Receiving, Ease, Form, Beauty, Entirety, Qualities of Movement, Imaginary and moving Centres, Archetype, Gesture, Imaginary Body, Character and Scenic Atmospheres. Rigorous ensemble play and exploration for building concentration, imagination and presence.

"All true artists, bear within themselves a deeply rooted and often unconscious desire for transformation " - Michael Chekhov 

Dr Jessica Beck

Dr Jessica Beck is a theatre director and somatic practitioner. She is a member of Asociación Internacional de Profesionales Alba Emoting (AIPAE) and certified Master Teacher of Alba (CL5). She has completed a practice-based PhD on the Challenge of Emotion in Western Performance (University of Exeter). Beck is a practitioner of the Feldenkrais Method of Somatic Education and the Alba Method, teaching on Alba trainings in the UK, United States and Canada.

Dr Beck teaches directing at Canterbury Christ Church University. Recent productions include: Whiskey Tango Foxtrot by Rebecca Crookshank (Edinburgh), Normal/Madness by Fiona Geddes (Edinburgh/Scottish Tour) and The Exeter Blitz Project by Jessica Beck and Helena Enright (The Bike Shed Theatre). Beck is an Artistic Associate of The Bike Shed Theatre, Exeter.


Professor Janice Orlandi

Artistic Director Actors Movement Studio NYC , Movement Specialist in Psychophysical Methods, Character Transformation.  Movement Director for: “The Other Mozart” London Premiere St James Theater, Innovative Theater Award winner and Drama Desk Nominee, The Here Arts Center Festival and Cherry Lane Theatre NYC. Directing credits include: “Bette Davis Ain’t for Sissies” Five Stars at Edinburgh Fringe Festival. Certified teacher of Williamson Physical Technique and Specialist in Period Styles including; Regency, Victorian, Edwardian, Elizabethan and Restoration. Certified teacher Michael Chekhov Technique, Trained in rasaboxes and also with founder Dr Richard Schechner , Trained with Anne Bogart, Tina Landau and SITI Company in viewpoints & Suzuki. Assistant Professor at University of the Arts Philadelphia, Taught movement at Mason Gross School of the Arts Rutgers University, Atlantic Theater Company at NYU Tisch, and Internationally at the State Theatre School in Odense, Denmark; Ophelia Theatre School in Copenhagen, Featured in American Theater Magazine "Trends in Movement Training." Currently writing a book on Physical Technique for the Actor “The Art of Transformation" Member Actors Equity and Screen Actors Guild.


Dr Michele Minnick

Dr Michele Minnick, PhD, CMA directs, performs, teaches, and conducts research in the U.S. and internationally. She directs traditional plays and devised work, also conducting ensemble training and movement direction. She is an associate artist with Submersive Productions, a Baltimore-based immersive theatre company with whom she co-directed The Mesmeric Revelations! Of Edgar Allan Poe. She was a member of Iron Crow Theatre Company in Baltimore from 2010-2013, and East Coast Artists, in New York from 1994-2004. Her involvement with The Magdalena Project, an international network of women theatre artists, led her to develop ReDress, a performance in public places that challenges women and men to address the ongoing assault against women. Currently she is devising BATS!, a theatrical meditation on madness, fear, and the bipolarity of American culture for one woman and an accordion.

Michele has been developing and teaching The Performance Workshop/rasaboxes since 1999, most extensively in the U.S. and Brazil. She has taught at New York University since 1999, at Towson University from 2008-2013. She is currently co-writing a book about this work, as well as continuing to train its next generations of teachers. Recently, she began exploring rasaboxes as a tool for exploration of the emotions in everyday life, and as a means of grounding and energizing performative activism. Her teaching is deeply informed by the Laban/Bartenieff System of Movement Studies, and vipassana meditation.

Related Information

“Being coached by Janice Orlandi was inspiring for she loves the work and it is contagious. She creates such an encouraging and safe environment that I felt free to make bolder, riskier choices.”
Allison Tigard, actress, Broadway