Interim Courses 2011

2011 INTERIM—THEATER SCHOOL

This document is subject to change, check the posted version frequently

Credit hours for INTERIM activities are assigned based on class contact hours and preparation time. Students are expected to enroll in a minimum of 45 HOURS of activities.

Many INTERIM Courses are open to ALL students, regardless of School or Program, except where indicated otherwise.  In order to receive credit for a course/workshop, students must register for and attend all sessions. Entrance to limited enrollment classes will be determined randomly from among students who register within INTERIM sign-up hours.

CLICK HERE FOR A PRINTABLE VERSION

COURSES

 [Th-01]   A Serious Game – Bob Cucuzza

Acting and baseball are both serious games. There’s a lot that actors can learn from baseball players. Both crafts demand heightened concentration and focus, planning without anticipation, interplay between tension and relaxation, physical engagement, and cat-like reflexes. So, we will play baseball with a foam ball and bat and learn about the craft of acting.

• Enrollment: up to 18, limited to Actors only

Week 1:  T, Th, Sa 1:00-4:00pm on Soccer Field

Credit Hours: 10

 

 

[Th-02]  Acting/Technique Classes

BFA1 and MFA1 technique classes and acting studios taught by Nataki Garrett and Mirjana Jokovic will be held. Specific classes may be held at different times during Interim than the regular class schedule.                      

Credit varies: BFA1s-25 hrs (35 hrs for Nataki Garrett’s studios); MFA1s-25 hrs; Mirjana Jokovic’s BFA3 & MFA2 studios-10 hrs

• Enrollment:  Limited to specific actor groups only

Week 1:  Various—See posted schedule

Week 2: Various—See posted schedule

Credit Hours: Varies—see above

 

 

[Th-03]  Advanced Techniques of Design – Chris Barreca

Advanced Techniques of Design: enrollment limited and only by permission of the instructor. BFA4s and MFAs--see Chris for enrollment approval.

• Enrollment: up to 12, by permission of instructor

Week 1:  T, W 9am-noon in E314

Week 2: M 9am-noon in E314

Credit Hours: 15

 [Th-04]   An Introduction to Google Sketch-up – Zach Moore

A basic overview of Google's SketchUp software: creating and manipulating shapes, coloring and texturing and then moving on to creating 'buildings' and importing from there into VectorWorks. The course will have a slightly theatrical swing, whereas the skills I'm hoping to teach can be used to create quick 3D models of sets. 

• Enrollment: Open to the Institute up to 14 

Week 1:  T, Th, F 1:00-3:00 in F109a (Computer Lab)

Credit Hours: 10

 

 

[Th-05]   An Intro to Poi – Chynna Pozzessere

Poi is rhythmically swinging a ball at the end of a string or chain of some sort. It is usually a fire dance done with charcoal at the end. In this course I will teach the basic movements and tricks of the wrist that result in this dance/movement. (We will not actually be lighting anything on fire.)

• Enrollment: Open to the Institute

Week 1:  T, Th 10am-12pm on the Mod Bridge Lawn

Credit Hours: 5

 

 

[Th-06]  Arts in the One World Conference

Sharing Strategies for Change. An interdisciplinary gathering of performance, presentation and conversation, offering strategies for creative practices that are transdisciplinary, context-based and situated in an interconnected field. Presentation and performance and conversation featuring Guillermo Gomez-Peña, Los Angeles Poverty Department, Trailer Trash project, More Life: Rwanda/Uganda, pecha kucha, and other opportunities to share strategies for engaged creative practice.

• Enrollment: Open to the Institute

Week 2: Th, F, Sa 9am-10pm - Coffeehouse Theater & various other spaces

Credit Hours: up to 30 (partial credit is optional)

[Th-07]  Beginning East Coast Swing Dancing – Lynn Martens

Learning to swing dance develops confidence with movement in the body, balance and focus. In order to learn the dance, students must trust their learning environment and their dance partners. That trust and learned skill also provides an opportunity to build a community among the students. Swing is an improvised dance, which requires a capacity for creative spur of the moment decisions.  In addition to learning the dance, this course will be dedicated to understanding the history of the swing dancing movement and also understanding the development between various styles of swing dancing and providing a release from the stress of art-making.

• Enrollment: Open to the Institute (up to 20)

Week 1:  T, W, Th, F 10am-11:30am in E197

Week 2: M, T, W, Th 10am-11:30am in E197

Credit Hours: 20

 

 

[Th-08]   Beginning Photo Shop Workshop – John Sherwood

Subjects include an introduction to the PhotoShop Interface, working with layers, editing images, editing colors, combining images, dealing with light and shadow and filters.

• Enrollment: Open to the Institute (up to 14)

Week 2: T, Th 10am-noon in F109a (Computer Lab)

Credit Hours: 10

 

 

[Th-09]   Comedic/Musical Improv -  Michael Y. Yang

Learn the basics of scene-based, short-form improvisational performance, with an additional focus on elements of improvising music and musicals, exploring basic song structure and strategies found in musical theater. Students will explore improvisational techniques applicable not only to direct performance of an improvised piece, but also to use in scripted work or in new work genesis to discover character and finding the comedic voice and elements of scenes without "trying to be funny".

• Enrollment: Open to the Institute (up to 18) 

Week 1:  T, F 1-4pm in C105

Week 2: Tue 1-4pm in C105

Credit Hours: 15

 

[Th-10]   Community-Based Theater Intensive – Cornerstone Theater

An intensive workshop in Cornerstone Theater Company's methodology. Multidisciplinary training in community-based theater making, for all who are interested in the intersection of theater and community. Do you have a community-collaborative project in the works? Do you want to start from scratch learning what community-based theater might be for you? Join members of nationally acclaimed Cornerstone Theater Company’s ensemble for a day-long practice-based workshop. www.cornerstonetheater.org

• Enrollment: Open to the Institute 

Week 1:  F 10am-6pm Coffeehouse Theater

Credit Hours: 10

 

 

[Th-11]   Designs on Dance – Martha Ferrara and Dance faculty 

A collaborative workshop led by Martha Ferrara and Maddie Keller. includes roundtable discussion, theories of design, and improvised choreography. Actual manipulation of fabrics and costumes garments is explores by designer/dancer pairings.

• Enrollment: Dance and Costume students by permission of the instructor

Week 1:  Sa in C105 1pm - 6pm

Credit Hours: 5

 

 

[Th-12]   Documenting the Process: Basic Photography for Live Performance with Scott Groller  

An informal studio working session on what information you need to know how to take your own photos for lighting/scenic design students and producers. If you have access to an SLR camera, bring it along.

• Enrollment: Open to the Institute, up to 20

Week 1:  Th 10am-1pm in the Light Lab

Credit Hours: 5

 

 

[Th-13]   El Actor y Los Objetos - Exploring the Actor's Props – Juan Parada

This workshop explores the relationship between the actor’s imagination and his/her props.  Using everyday objects such as a stick, a chair, a suitcase, and certain theatrical objects such as the mask and costume pieces we will explore the creation of a character and the imaginative world in which he/she lives.  The workshop is inspired by Latin American theatre companies:  Yuyachkani of Peru; Teatro Malayerba of Ecuador; La Candelaria of Colombia.  This is a physical workshop consisting of a very active warm-up, light voice work and physical explorations of the objects.  We will sweat, we will laugh, we will cry, and we will create. The workshop will be conducted in English.

• Enrollment: Open to the Institute, up to 16

Week 1:  T 3-6pm, in the Irene Annex

W 10am-1pm

Thu 1-4pm

Fri 10:30am-1pm 

Credit Hours: 15

 

 

[Th-14] Extended Vocal Range Techniques/Fixes – Rafael Lopez-Barrantes  

Brushing up and fixing extended vocal range technique topics seen previously in their years of instruction. 

• Enrollment: Open to graduating actors, up to 10

Week 1:  T 10am-noon, W 3-5pm

Credit Hours: 10

 

 

 

[Th-15]   Fundamental of Sound System Design, Implementation and Optimization – Meyer Sound 

This seminar encompasses a variety of topics in sound system applications. Practical information on system design and application is presented in a real-world context to provide useful background. Theory and practice of line arrays are discussed, along with the tools for system optimization, including equalization, delay, loudspeaker management systems and measurement with the SIM 3 audio analyzer. 

The seminar’s second day is dedicated to use of Meyer Sound MAPP Online acoustical prediction software as a primary tool in system design. After an extensive introduction to the program and its capabilities, attendees are walked through exercises in which they specify venues and design loudspeaker systems to cover them. 

Finally, the seminar will discuss and demonstrate important concepts pertaining to the use of subwoofers and methods of deployment that obtain optimal coverage and directivity characteristics.

• Enrollment: Open to the Institute, up to 30

Week 1:  Th, F 9am-5pm in E400

Credit Hours: 20

 

 

[Th-16] Giving Words to Things: Writing for Puppet and Object Theater –Susan Simpson 

A structured workshop aimed specifically at the process of writing for puppet and object theater.  Through class exercises and one longer writing project, students will develop their skills and strategies for creating scripts, storyboards and hybrid forms which best express the content of a performance. The process is designed to teach students to write with closer attention to and deeper understanding of the interplay between text and image on stage. (There will be a $5 materials fee and one text will be required to purchase for about $17.)

• Enrollment: Open to the Institute, up to 10

Week 1: Th 9am-noon in Café B

Week 2: M, Th 9am-noon in Café A

Credit Hours: 15

 

 

[Th-17]  How to Keep Your Head and Survive Being a Female in a Male Dominated Profession –

  Anne Militello

Discussion with one or more female industry leaders in theatrical design and technical engineering on their experiences working with collaborators and crews around technical issues. How to keep your head and survive being a female in a male dominated profession. 

• Enrollment: Open to the Institute, up to 20

Week 1:  F 10am-noon in Café B

Credit Hours: 5

 

 

[Th-18]  How to Start an Artistic Revolution in Your Home Town:  The Conscious Creation of Context

  Alexander Cole  

Many of us look at the beginnings of an historic artistic movement with a sort of reverential awe. There is an almost mystical or spiritual tone to many of these stories, these urban creation myths, because they typically involve such devices as "the chance meeting," the wild success of "a nobody" despite all odds -- essentially, situations which draw particular attention to those aspects of life. We do see that art movements (as well as rock bands) seem to be born out of particular times and places -- Paris in the 1920's, New York in the 1960's, etc.  This course will encourage students to look at their own context, as creative producers.  They will be asked to create their own "urban creation myth," to make them consider the broad context of their work and their lives as artists.  This course will also ask the exciting question of whether or not it is possible for an artist to consciously create a new context for his or herself in such a way that can lay the foundation for a new "scene" or artistic movement to take root and to develop.

• Enrollment: Open to the Institute, up to 16

Week 1:  Th, F 4-6pm in E314

Week 2: M, Th 4-6pm in E314

Credit Hours: 15

 

 

[Th-19]   Inflated Ego Workshop -  Mariya Tatarintseva and others

Using plastic inflatables and a game show format, Inflated Ego!, explores the American image projected to an international audience. A workshop open to all students, Inflated Ego! has been accepted into the Prague Quadrennial.  The class launches the development and prototyping of the piece, which will continue through the spring. Over two weeks we will address all aspects of creating the performance including writing script, exploring materials, and exploring “archetypical identities” of American culture. CalArts students will be present Inflated Ego! during the Design by Performance “Street Stories” section of the Prague Quadrennial on June 17th 2010 in Prague, Czech Republic.   This international event happens every four years and brings professional and student designers from all spheres of theater and architecture.  

• Enrollment: Open to the Institute, up to 20

Week 1:  Th 2-6pm in Light Lab

Week 2: M 2-6pm in Light Lab

Credit Hours: 15

 

 

[Th-20]   Inside The Box: Preparing for Your Post-CalArts Career – Peter Jensen

Preparing for post-graduate life as an artist can seem daunting. Whether you plan to start your own company, work in regional performance venues, or go into the entertainment industry, getting started can appear overwhelming.  This intensive workshop aims to put power and agency in the hands of the CalArtian. The workshop will consist of group discussions, individual exercises, and collaborative activities, each of which address the following question: How do I want to identify myself as an artist in the world?  Drawing from each individual or small groups’ own ‘box,’ or skill set, we will: Create short and long-range career plans; review the effectiveness of resumes, portfolios, and mission statements; and develop oral and written personal and project pitches. All the while, we will examine our role as vital contributors in our communities and across the globe. This applies to any sector of the arts marketplace, from shoestring to multi-million dollar budgets. If you have been experiencing anxiety or panic about what awaits you outside the walls of CalArts, or simply want to dedicate some time to dreaming about and organizing your career goals, then this workshop is for you. Participants are expected to bring a resume or CV and artists bio to the first meeting.

• Enrollment: Open to the Institute, up to 25

Week 2: M, T, Th, F 10am-1pm in Café B

Credit Hours: 20

 

 

[Th-21]    In The Hearts of Men: A Theatrical Documentary - Cody Braudt, Zan Headley, Connor Farr

During this project, we plan to create a documentary piece of theatre (ala The Laramie Project, Columbinus, etc.) that explores the issues surrounding the recent spate of gay suicides and the Catholic Church's position on homosexuality as reflected in two specific instances in Minnesota. In The Hearts of Men is not interested in being a piece of theatre in which we favor a particular view point on this issue (pro gay rights or anti gay rights). Instead, we intend to present both arguments equally and let the audience decide for themselves. This piece will be created by having three different dialogues of individuals from catholic-based communities. We want to raise one specific question overall with our audience and with those who participate in this project: When it comes to the controversy over same sex marriage, where does the issue truly exist? Is the issue with the content (the scriptures and how they are interpreted)? Is the issue with the containment of the information (those who are interpreting the text and there own personal bias)? Is it a combination of both? Is it something else?

• Enrollment: Open to the Institute, up to 12

Week 1:  T, W, Th, F 6pm-11pm, F100A

Week 2: T, W, Th 6pm-11pm 

Credit Hours: 35

 

 

[Th-22]   Internships and Observation of Rehearsals for a Professional(Equity) Theatre Company –  Craig Belknap 

An observation/internship at The Lewis Family Playhouse ( a 500 seat state of the art theatre in Rancho Cucamonga) where Craig be directing an Equity production of THE GINGERBREAD MAN, a play for children.  Interns would attend all rehearsals, sit in on note sessions and production meetings, and act as understudies for the roles. 

• Enrollment: up to 3, by permission of instructor

Week 1:  T-Sa 11am-5pm

Week 2: T-Sa 11am-5pm

Credit Hours: 45

 

 

[Th-23]  Introduction to 5Rhythms – Heather Ehlers

Over four two-hour classes, we will begin to explore the 5Rhythms practice: a moving meditation/ improvisational form of dance created by Gabrielle Roth. The 5Rhythms is a simple, powerful moving meditation that anyone – of any age, size, or physical ability - can practice. There are no steps to follow, no choreography to learn, no way to do it wrong. The only requirement is a body that is still breathing, a heart that is still beating, and mind that is still curious. Just like light, sound or ocean waves, a dancing body when moving freely passes through five distinct rhythmic patterns. These patterns continuously repeat themselves in a wave of motion. The 5Rhythms are: FLOWING – the fluid, continuous, grounded glide of our own movements; STACCATO – the percussive, pulsing beat that shapes us a thousand different ways; CHAOS – the rhythm of letting go, releasing into the catalytic wildness of our dance that can never be planned or repeated; LYRICAL – the rhythm of trance, where the weight of self-consciousness dissolves, where we lighten up and disappear into our own uniqueness; STILLNESS – the quiet emptiness, where gentle movements rise and fall, start and end, in a field of silence.

• Enrollment: Open to the Institute 

Week 1:  T, F 10:30am-12:30pm in F100

Week 2: T, F 10:30am-12:30pm  in F100

Credit Hours: 10

 

 

[Th-24]  IPA Workout – Dwight Bacquie

A 2-session workshop where the focus is on transcription skills, first by transcribing written text into IPA, then transcribing a live person speaking. Differences in the transcription experiences are discussed.

• Enrollment: open to those with one semester or equivalent of Skinner or Skinner compatible IPA, up to 10

Week 1:  Th 1-3pm in Café B

Week 1:  M 1-3pm in Café B

Credit Hours: 10

 

 

[Th-25] Kyudo: Art of Japanese Archery - Hirokazu Kosaka

The art of Kyudo is both sacred and tangible. Dating back to 11th Century in Japan. It has been used as an art of purification in ceremonies within the Imperial Court of Japan and Zen Buddhism. Hirokazu Kosaka, can trace Kyudo in his family’s lineage back multiple generations, and often as replied “300 years” when asked how long he has studied the art.  Just as his father began teaching Kosaka when he was 10 years old, his father’s father taught him, as was done the previous generation. Kyudo is a meditational art, where practitioners focus on attaining the perfect void.  In order to accomplish a perfect shot one must have immediate action without any intervening thoughts.

• Enrollment: Open to the Instititute

Week 2: Th 1-4pm in BB#2

Credit Hours: 5

 

 

 [Th-26]  Korean Mask Dance Project

Three student/interns from Seoul Institute of the Arts will come to CalArts for a workshop on Korean mask making and dancing. This course will consist of: a brief introduction to Korean Traditional Mask-Dance, mask production (hands on painting for everyone, explanation of the design of mask). Mask Dance Performance (a short demonstration while the masks are drying), learning the dance and a joint performance. CalArts students can take their masks home with them. We will furnish the materials.

• Enrollment: Open to the Institute 

Week 2: Sa 1-4pm in BB#2

Credit Hours: 5

 

 

[Th-27]   LEAR ------  LAYER – a Chung Ang University/ Cal Arts Collaboration:

Seoul           Los Angeles  

2010            2011

Theater students and faculty from Chung Ang University in Seoul Korea will be visiting Cal Arts from January 20-30.  Six Chung Ang actors will present their 75-minute contemporary adaptation of Lear called Chairman Lear on January 22.  In addition to the 6 actors, there will be 6 members of the production team as well: director, playwright, stage manager, scenic designer, lighting designer and sound operator/asst. director.
As a part of the 2nd week of Interim CalArts students will have a chance to engage in a theatrical experiment, springing off of the Korean Lear and adding layers of language (English and Spanish) as well as animation, movement and sound.  This Los Angeles aspect of the work is tentatively titled "Layer". This is a great opportunity to work interculturally and make theater with artists from Korea.   Consider this a global experiment, with lots of room to create and brainstorm.  Your agency and capacity can only add to the possibilities (let’s see what we can make), and the chance to share strategies with another culture may enlighten your own.

• Enrollment: Open to the Institute, up to 16

Week 1:  Observation of /assisting with Korean Performance team

Week 2: M-Sa 10am-10pm in E407

Credit Hours: 45

 

 

[Th-28]   Less Magoo, More Monet – Bob Cucuzza

Theater artist Richard Foreman has a very idiosyncratic vision and an equally idiosyncratic way of putting together his incredibly cerebral yet also highly theatrical productions. As an actor in three of his shows and an production intern on a fourth, I was given the chance to experience his assembling techniques from the inside. This class will include viewing videos of his plays and then lecture and discussion of his unique method of creating work.

• Enrollment: Open to the Institute, up to 20

Week 2: T, Th 9am-noon in the Faculty Center

Credit Hours: 10

 

 

[Th-29] Method to the Madness: an experimental exposé – Ellen McCartney & Leslie Tamaribuchi

Two part workshop - tackling the question: what is experiment? We will research the idea and definition of experiment. We'll develop prototypes and put experimental theories into practice. How do different experimental strategies help to expand knowledge and practice? What are the myths of experiment? What are our own experiential truths of experimentation?

• Enrollment: Open to the Institute, up to 20

Week 1:  W, Th 1-4pm in E314

Week 2: M 3-6pm in E314

Credit Hours: 20

 

 

[Th-30] New Works Festival: Under Construction – Chi-wang Yang

Brainstorming, planning and dreaming about New Works Festival 2011 with committee members and all interested.

• Enrollment: Open to the Institute

Week 2: M, Th ` 1-4pm in D309

Credit Hours: 10

 

 

[Th-31]  OSHO Meditation – Matthew Valladares

Kundalini OSHO Meditation is an active form practiced in stages. Rhythm breathing, movement in space. Reckless Abandon - allowing free movement and sound. Hammer - Repetitive action and sound, Complete silence/stillnes. Body Groove - Relaxed movement and sound through space. 

• Enrollment: Open to the Institute, up to 20

Week 2: M, T, F 1-3pm in the irene

Credit Hours: 10

 

 

[Th-32] Physical Performance Alignment – Dan White

This is a course designed to provide identification and introductory correction of actors' postural imbalances. The goal of this course is to increase the actors' body awareness, and make certain that their performance physicalities are active choices, not personal habits. This will be achieved in two phases:  analyzation of imbalances through methods widely recognized and used by organizations such as the American College of Sports Medicine, and correction through a unique, dynamic, mixture of Martial Arts, Ballet, Pilates, and core strengthening techniques. 

• Enrollment: Open to the Institute, up to 20

Week 1:  Th, F 12pm-1:30pm in E197 

Week 2: M, Th 12pm-1:30pm in E197

Credit Hours: 10

 

 [Th-33] Piecing Together Limitations – Rafael Lopez-Barrants and Jessica Harris

Explorations in movement generation and extended vocal techniques. Each class meeting will include: (a) 1 hr technique class with Jessica Harris, which will focus on the use of physical concepts such as weight, transfer of energy, momentum and breath to inform movement;  (b) 30 min vocal technique - Rafael L-B which will explore and develop vocal techniques in performance; and (c) 1.5 hr laboratory. During this laboratory period, students will develop movement phrases from specific physical limitations, exploring the meaning that these limitations convey.  Voice and sound will be explored with the movement created.  On the final day, the group will work to create a simple choreography of the phrases and vocal work generated. 

• Enrollment: Preference to BFA3, BFA4, MFA2, MFA3 Actors, up to 12

Week 1:  W, Th, F 9am-noon in E106

Credit Hours: 10

 

 

[Th-34]   Printed Portfolio – Ian Garrett

Intensive design instruction on building a Portfolio for print production. 

• Enrollment: Open to the Institute, up to 12

Week 1: W 1-3pm  in F109a (Computer Lab)

Week 2: W 1-3pm in F109a (Computer Lab)

Credit Hours: 10

 

 

 [Th-35]   Process and Performance – Chris Cotone & Alexis McNab

The goal of this offering is to make a performance piece about the process of making performance in one day. At 9am we meet – discuss our interests/abilities, choose a text, audition performers, cold read, table work, discuss design ideas and options, etc. The point of the piece is that it must be completed by 9pm – with an audience already invited for 8pm that day. It’s like a 24-hour play, only with even less lead-time and more emphasis on design.

• Enrollment: Open to the Institute, up to 20

Week 2: F 9am-9pm in BB2

Credit Hours: 15

 

 

[Th-36]   Production

Casts and Production teams for Camino Real and Wounded. Production teams for Last Black Man, Desire, Phaedra's Love will receive varioable credit for their production participation during Interim. See posted list to confirm individual Interim credit, which ranges from 10 hours to 45 hours. 

• Enrollment: as assigned, open to those students pre-approved based on spring production assignments/casting. See approved credit list in Theater School Office.

Week 1:  As arranged per show

Week 2: As arranged per show

Credit Hours: 10-45

 

 

[Th-37]   Puppetry Film – Chase Woolner and Brian Yu

This film is adapted from a newspaper clipping and performed non-verbally with puppets. The story as reported is of a 23-year•old mother and her 3-year-old son who get thrown out of their house. In search of shelter for the night, the mother and son head to the neighborhood park. During the evening the mother suffocates her son, and then decides it was wrong and performs CPR bringing him back to life, and soon after decides her first decision was the correct one and suffocates him again. Puppets have an inherent ability to tell difficult stories and represent an undercurrent within a society. One of the ways that the strange relationship between mother and son will be established is with the use of two different styles of puppetry. I plan to employ the Cinematic techniques of Yasajiro Ozu’s films which feature strong individual characters and family relationships. Ozu’s film use of low camera angles, shadows and “pillow shots,” lend themselves to the telling of this story and to cinematic quality and believability of the puppet characters. 

• Enrollment: Open to the Institute with permission of the instructors, up to 12

Week 1:  F, Sa 9am-12pm and 1-4pm in Light Lab

Week 2: M, T, W 9am-12pm and 1-4pm in Light Lab

Credit Hours: 35

 

 

[Th-38]   Raising $ (for a good cause) – Leslie Tamaribuchi

A workshop to share and develop strategies for raising funds from individuals. We'll look at stories of success and failure. Come with a sense of purpose and a fundraising goal. 

• Enrollment: Open to the Institute, up to 20

Week 1:  T, Th 10am-noon in Café A

Credit Hours: 10

 

 

[Th-39]   Safety First - The Principles of Stage Violence for Actors – Amanda Washko

Safety is the first concern surrounding any stage violence. The focus of the course is to provide actors with the principles of basic stage violence and safety rather than simply technique – teaching “why" not just "how. Participants of this class will first be introduced to the principles of safety through stage violence, hot that safety is achieved in a believable way and finally how to find agency in their execution of the training. Participants will leave the course with the capacity to problem solve basic stage violence both conceptually and practically. 

• Enrollment: Preference to Actors, up to 18

Week 2: M, T, Th 1pm-4pm in E106

Credit Hours: 10 

 

 

[Th-40]   Say What?: Communication Strategies for Artists, Activists and Peacemakers – Linda Hoag

Whether you are at the table for family Thanksgiving or at the table for international peace talks, mindful speech decreases conflict and increases human connection. Enjoy an interactive workshop exploring the concept of Right Speech. Learn techniques from Buddhist philosophy, Quaker practice, Nonviolent Communication and Western psychology.

• Enrollment: Open to the Institute, up to 24

Week 1:  Th 1-4pm in Langley

Credit Hours: 5

 

 

[Th-41]   Speech in Film – Dwight Bacquie

A workshop offered twice focusing on watching film clips that have stories set in different periods. The class will assess and discuss speech choices and execution.

• Enrollment: Open to actors, up to 10 

Week 1:  Session #1 T 10am-noon in Faculty Center

Session #2 Th  10am-noon in Faculty Center

Credit Hours: 5

 

 

[Th-42]  Staging Democracy: Public Space Context: Citizen, City and Peaceable Assembly – 

   Ari Kletzky

This 4-session course combines theory and practice to examine and engage with public space in relation to democracy. The approach is topically driven and draws on various disciplines including urbanism constitutional law, political theory, political history, sociology and education. Islandsofla.org

• Enrollment: Open to BFA4s and MFAs, up to 10

Week 1:  T, Th 9am-noon in Langley (and nearby traffic island)

Week 2: T, Th 9am-noon in Langley

Credit Hours: 20

 

 

[Th-43] Static Back Exercise Series – Sherry Tschernisch

These exercises are helpful for chronic or occasional lower back discomfort. knees and hip improve as well with regular practice. Deeply relaxing, simple to learn, useful for now and always. 

• Enrollment: Open to the Institute, up to 10

Week 1:  F 1-3pm in Mod Lobby

Week 2: T 3-5 pm in Mod Lobby

Credit Hours: 5

 

 

[Th-44]  Start Your Own Business to Free You to Pursue Your Acting Career – 

   Joey Tamer and Lew Palter

• Enrollment: Open to graduating actors

Entrepreneur and consultant Joey Tamer will present a full-day seminar for graduating actors. The morning session will offer the idea that creating and running your own small business provides the best support and freedom for your acting career. The afternoon session will present tactics on how to do it, with intensive interaction tailored to each participant. Come with your questions and ideas.

Week 2: M 9-12 and 1-4 in Langley

Credit Hours: 10

 

 

[Th-45] Techniques of Physical Storytelling – Haley Kooeyman

The first half of each session will be dedicated to intensive body conditioning, basic mime technique and a multitude of guided movement-based theatre exercises. The second half will call upon the students to use their new skills/vocabulary to create 5-10 minutes pieces to be performed during the second half of the last meeting. Peers and faculty will be encouraged to attend. Movement clothes preferred. 

• Enrollment: Open to the Institute, up to 16

Week 1:  T, Th 1-4pm in the Coffeehouse

Week 2: M, T 1-4pm in the Coffeehouse

Credit Hours: 10

 

[Th-46]   Temporary Autonomous Zones, Free Radicals, Psychic Hygienists and Accretions – 

   Christian Cummings

In this workshop we will use Hakin Bry's 1984 text T.A.Z. as a prompt for our daily action-based meditations. Blending disciplines we will explore the concepts of play (Huizinga), Divination Games (designing artistic interface), Altered States (legal and safe), Plagiarism and Pataphysics (how to cheat), and Acrasia (forsaking reason for expressive incontinence/why making-meaning doesn't have to make sense). Hopefully, by the end of this workshop we will no longer be domesticated primates. Artists take up your oars! We will not be returning to Ithaca. Proposed Guest: Doug Harvey (LA Art Critic and head Art Writer for LA Weekly) 

• Enrollment: Open to the Institute, up to 16

Week 1:  T, W, Th, F 4-7pm in Mod Lobby

Credit Hours: 15

 

 

[Th-47]   Trailer Trash – Sam Breen

This is part of a year-long project focused on the complete green restoration of a 1951 Spartan trailer on block 2 parking lot at CalArts. The Institute-approved project began in September 2010.  It is being built as a performance space for CalArts students and for the artist community beyond our grounds. It is being developed as a (mobile) platform for artists to create work inspired by their experiences of “home”.  It is a process-based collaboration that is heavily reliant on the contribution of its participants, in terms of vision and labor. During interim, Sam is hoping to encourage new participants with new ideas and energies to assist him with this project.

• Enrollment: Open to the Institute, sign-up for specific times, in Theater School Office

Week 1:  Daily 9-5 

Week 2: Daily 9-5

Credit Hours: Variable

 

 

[Th-48] Transit Oriented Food Adventures in Los Angeles – Ian Garrett

Los Angeles is an extremely diverse and delicious metropolis! But, it can be a daunting place to get around and know where to go. We'll kill two birds with one stone in this class, introducing students to the multitude of neighborhoods along the most reliable Los Angeles Transit Corridors through the myriad food options the city has to offer. 

Bring good footwear and an adventurous palate as we travel along the Red and Gold lines of the Metro Rail System. Both class meetings will begin and end at Union Station in downtown LA. Accessible by the Metro link trains from the Santa Clarita and New Hall Stations (Round trip full far is $17.50). Students are otherwise encouraged to carpool from Valencia, or start the day in LA and take public transit.
Though there is no course fee, students will need to purchase a Metro Day Pass ($6) and bring cash with which to buy food along the way!

• Enrollment: Open to the Institute, up to 8

Week 1:  F, 9am-3pm offsite

Credit Hours: 15

 

 

[Th-49] Transposing Performances: Bringing a foreign play to American reality – Fernando Belo

How can we translate a play to another language AND to another culture? How can we reproduce a play originally written and performed to another culture and make it touch and move people with a different cultural and historical background in a similar way? The goal of this workshop is to “transpose” the play Quando as Máquinas Param, from Brazilian writer Plínio Marcos, to an American context. The play tells the story of Zé and Nina, a young couple who lives in Brazil in the 60’s. Filled with Brazilian historical and cultural references such as soccer, the “malandro” figure and the union strikes of the 60’s, the play has a universal theme: the struggle of the working class families against economical crises. The workshop is opened to actors, writers, musicians, set, costume and lighting designers who will contribute with their own métier in a collaborative creative process to adapt the play to an American context. At the end of the workshop, we will examine which elements of the original play remained in the new work and which had to be left out so the play could have a meaning to American audience – with a short performance piece created by all the artists involved.  

• Enrollment: Open to the Institute, up to 30

Week 1:  T, Th, F 1-4pm in F100

Week 2: M, T 1-4pm in F100

Credit Hours 20

 

 

[Th-50] Venus-Workshop exploration – Aaron McKinney

As an extension of Graduate Play Analysis and Actor's Workshop, A group of actors formulated the idea to explore VENUS by Suzi-Lori Parks. At the end of the period, a workshop performance will be presented with a talk back. There are several elements of this process that promote the strategies of Interim. This project involves lessons in a composer working with actors to experiment with creating their own soundscapes and using their body as instruments. This project also brings together various disciplines collaborating to express their views of this text. This piece will also allow an open source approach to this text and an opportunity for actors to exert agency in a collaborative process. 

• Enrollment: Open to the Institute, up to 20, preference to previously committed participants

Week 1:  T, W, Th F, Sa, Su 9am-noon and 1-4pm (except Saturday afternoon)

Credit Hours: 25

 

 

[Th-51]   Web Portfolio!! – Ian Garrett

Build a basic web portfolio.

• Enrollment: Open to the Institute, up to 12

Week 1:  Th 10am-noon in F109a (computer lab)

Week 2: Th 1-3pm in F109a (computer lab)

Credit Hours: 10

 

 

[Th-52]  Introduction to Archery – Brittany Woodford

Gain basic familiarity with the art and skill of archery from certified archery instructor. (Equipment use fees to be determined.) 

• Enrollment: Open to the Institute, up to 18

Week 1: F 1–4pm (soccer field)

Week 2: M, T 1-4 pm (soccer field)

Credit Hours: 10