Emotion and Imagination in Performance - Rasaboxes & Michael Chekhov

  • Emotion and Imagination in Performance - Rasaboxes & Michael Chekhov
  • Emotion and Imagination in Performance - Rasaboxes & Michael Chekhov
  • Emotion and Imagination in Performance - Rasaboxes & Michael Chekhov
  • Emotion and Imagination in Performance - Rasaboxes & Michael Chekhov
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About this course

Duration

One week (Five days teaching)

Term Start

Monday 2 to Friday 6 July 2018

Entry Requirements

Applications are welcome from those aged 18+. Candidates will actively enjoy all aspects of practical drama work, be motivated, and enthusiastically embrace intensive work and rehearsal.

Rasaboxes and Michael Chekhov are combined to offer course participants an intensive study and exploration of their Emotional Range and Expressive Imagination in order to create and embody vividly expansive Emotions and Characters in Rehearsal and Performance.

Over the course of the workshop, the Rasaboxes and Michael Chekhov Technique will begin to mutually inform one another, as we engage their distinct ways of exploring emotion and character, navigate the transformational energies required of the actor, and discover how the two techniques can illuminate and benefit one another.


Why choose this course?

  • Professional-level studios and spaces on a leafy green campus
  • Study with acclaimed international Master Teachers
  • Intensive study of cutting edge techniques
  • Take your own practice to the next level

Fee and Application Information

Accreditation

This course is delivered over one week of intensive full-time training (30+ hours) at our Sidcup campus. 
 

How to Apply

Email summer@bruford.ac.uk for more information or to book your place. 

‚ÄčCourse Fees   

Deposit
£100

Full Fee
£625 (paid in full before 1 June 2018)

Accommodation (if required)
£300 (One week booking) 

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


Course content

The Rasaboxes* is one of several foundational exercises from The Performance Workshop, an ensemble-based approach to performer training developed by American experimental theatre director and performance theorist Richard Schechner. The classical Indian theory of “rasa,” proposes theatre as a feast of emotional “flavours” savoured by performer and spectator. Rasaboxes uses the eight basic rasas (loosely translated as: love, anger, sadness, courage, disgust, fear, wonder, and laughter) to create a playful training ground for psychophysical experimentation, and to enhance the connection between inner life and outer expression. It integrates rather than separates acting, movement and voice, engaging the performer in a holistic exploration of her craft.

Instruction engages shape, facial expression, breath, movement, sound and relating to others through a combination of improvisation and scoring, and eventually uses the rasas as the basis for interpreting text, developing characters, exploring scene work and composition. Useful in any genre of performance, from television to musical theatre, immersive theatre to clown work, the Rasaboxes training vitalizes performers, bringing them greater emotional awareness and agility, and offers specific techniques for finding a truthful, fully embodied sense of presence and emotional specificity.

Michael Chekhov Technique 

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

Participants will explore transformation 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 and rigorous ensemble play for building concentration, imagination and presence. The group will work with: Radiating and Receiving, Archetypes, Imaginary Centres, Imaginary body, Character Atmospheres, Overall scenic Atmospheres, Qualities of Movement and Psychological Gesture. Chekhov's technique consists of a wide variety effective acting tools, which can inspire endless possibilities for enlarging the actor's creativity, artistic expression and inspired performance. Always, we are reminded of his central principle, to work with “a feeling of ease,” so that we release our work from unnecessary tension.

*This course qualifies as a teacher training prerequisite pending the completion of the course and the recommendation of the instructor.

Course Directors

Michele Minnick, CMA, Ph.D., has been teaching and developing The Performance Workshop and Rasaboxes internationally for the past 20 years, and is currently co-writing and editing the first book about the work, to be published by Routledge in early 2019. She has taught extensively at New York University and Towson University.

As a director, performer, and teacher, Michele works with both traditional and experimental theatre and performance techniques. Recent productions include A Body of Water and Lungs at The Kitchen Theatre, in Ithaca, NY, Lamatown, an original play with songs in Natal, Brazil, and Kid-Simple at UMBC. She has been a member of Richard Schechner’s company, East Coast Artists in NY (1994-2005), and Iron Crow Theatre Company in Baltimore (2010-2013). She has been an associate artist with Submersive Productions since 2014, co-directing their inaugural production, The Mesmeric Revelations of Edgar Allan Poe. She is currently developing a solo work with accordion called BATS, a collaboration with Submersive Productions that will premiere in March 2018.

Her dissertation, Breathing Worlds: Somatic Practice, Performance and the Self in the Life/Art Work of Leeny Sack addresses the relationship between personal and historical trauma and performance-making as a founding practice for the structuring of self. Michele offers regular workshops in New York City and elsewhere via Rasa Performance Workshop, and is adapting the Rasaboxes for an arts-in-education context in Maryland schools. Her pedagogical and artistic work is deeply informed by her training in Laban/Bartenieff Movement Studies, her experiences with vipassana meditation, and an extensive study of somatic, performance and healing practices.

 

Janice Orlandi is the Artistic Director, Actors Movement Studio NYC, a movement and period style specialist and a certified teacher of Williamson Technique and Michael Chekhov Technique. She trained extensively in Viewpoints, Suzuki and Composition with Ann Bogart, Tina Landau and SITI Company.  She is currently undergoing certification in rasaboxes and Alba Emoting.

Janice is currently writing book on physical technique for the actor and cross training; The Art Of Transformation - Crossing Pedagogy.

Janice is an Assistant Professor, University of the Arts, School of Performing Arts PA. Her work as an educator, director, actress and movement coach has been seen at Williamstown Theater Festival, De Lindenberg Centrum Voor Kunst Culture Netherlands, Odense State School, Denmark, Princeton Repertory Shakespeare Festival, Expanded Arts, CSC Classic Stage Company, Circle Rep lab and many others. She is the Co-Artistic Director of Echo Repertory, New Vaudeville Theater. She is a founding Member of Expanded Arts Theater & Shakespeare in the Parking Lot NYC.


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