Working Actors Workout
Moon’s “Working Actors Workout” are weekly cooperative, drop-in, rotating programs designed to encourage community, collaboration and provide a place for working artists of all levels, to brush-up or learn new skills. It is designed to be a non-competitive, cooperative environment where actors of all skill levels and experience can meet for a mid-week workout and social scene. Classes are held every Wednesday at the company’s MoonSpace, 250 Van Ness at Grove Street, usually from 10:30am – 11:30am maybe a little longer depending on the week’s topic.
“The goal is to create a strong, prepared force of creative working actors,” said the projects coordinator, Cindy Goldfield. “We
want to turn out actors ready to audition, with a higher comfort level, for a wider range of projects.”
The Workshops are member-lead and feature a rotating curriculum that may include Musical Theatre Dance (both basic vocabulary and more challenging combinations), Basic Tap, Basic Stage Combat, Beginning Juggling, Audition Monologue Brush-up, Musical Theatre Audition Brush-up, Shakespeare Monologue Brush-up, Yoga and Pilates among other offerings.
“Concurrent with the primary goal, we hope that these classes will foster goodwill and community
amongst the workforce,” said Goldfield. We want to create a space to get feedback on new work
and to be with like-minded individuals on a regular basis.”
The nominal drop-in cost for the “Working Actors Workshops” is a $5-$10 sliding scale to cover
the cost of the space and to pay to the teacher of the day; to encourage people to come share their
skills and foster a bigger community. Teachers will be recruited from the pool of participants in
most instances, and Special event classes with outside professionals will be included in the schedule
as available.
Schedule
August 18th, 10:30am-12noon Circus Skills
Learn to juggle, spin plates, and balance stuff on your face! Circus skills are a fun addition to your special skills section of your résumé, and in this class we will explore scarves, balls, peacock feathers, and spinning plates. Even if you can already juggle, but would like to challenge your brain to learn some new tricks, come on by. If mats are available, some basic partner acrobatics will also be taught.
Jeremy Vik, graduate of the Clown Conservatory 2005, has acted for the San Francisco Shakespeare Festival, 42nd Street Moon, Berkeley Playhouse, Tony N Tina's Wedding, and several other theatre companies around the Bay Area. Jeremy studied acting at Southern Oregon University, but dropped out to go to circus school, and has never looked back! He has taught dozens of people to juggle and loves nothing more than seeing the moment of excitement when somebody succeeds at learning a new skill. Jeremy also loves handstands and comic books.
August 25th, 10:30am-12noon Modern Dance
This mixed-level class will cover basic release technique; including ways to avoid overworking muscular groups while dancing through the use of momentum and weight transferring. All while keeping in mind aesthetics, artistry, and over all, fun.
Juan De La Rosa began his training at SFSU where he received Bachelor's degrees in Theatre Arts and Dance. After SFSU, Juan went on to teach/ choreography for Kid Stock, Inc and Buenavista summer program. He's also been an active member of both the theatre and dance communities. He's danced professionally for Paco Gomes and Dancers, kelly kemp & co. and Sean Dorsey Dance.
September 1st, 10:30am-12noon Viewpoints
Gabriel Grilli will lead a workshop in Viewpoints Technique. Viewpoints is a technique for developing your kinesthetic awareness, creative imagination, physical/vocal flexibility, emotional freedom, and environmental sensitivity. Through the exploration of space, movement, gesture, rhythm, sound, and other 'viewpoints,' students will expand their consciousness and spontaneity. Viewpoints is used extensively in the dance and theatre worlds as a training tool and method for generating new work.
Originally created in the 1970s by choreographer Mary Overlie, Viewpoints theory was adapted for stage acting by directors Anne Bogart and Tina Landau. Overlie's six original Viewpoints are space, story, time, emotion, movement, and shape, while Bogart's Viewpoints include tempo, duration, kinesthetic response, repetition, shape, gesture, architecture, spatial relationship, and topography.
Gabriel Grilli has worked as a director, teacher, actor and writer at theatres in New York City, San Francisco, and around the country. As a teacher of acting and directing, he has headed classes and workshops at Acting Abroad (France), Berkeley Playhouse, Custom Made Theatre, Marin Shakespeare Company, New York University, The New School, The School of Visual Arts, Syracuse University, Pennsylvania State University and the Oxbridge Program at Trinity Hall (UK). Visit his site www.gabrielgrilli.com.
September 8th, 10:30am-12noon Classical Workshop with James Carpenter SPECIAL EVENT ($10 - $20)
James will address Shakespeare's use of imagery and how to go about filling that language and imagery. We'll look at the dynamics of driving the language, use of pace, and the differences between playing the punctuation and that of giving a stop at the end of each metrical line; to look at being more aware of how we can make the language clearer and have more character by use of phrasing. He'll address the use of verbs and inflection and how we can employ them to drive the actor to the final thought and image in the line. James will try to get the participants to be more acutely aware of using words--of lifting certain ones and driving lower on others and ask them to develop a musical sense in their use both in classical verse and everyday language.
We will explore the language of the participants' pieces, playing with it and filling it in different ways--lengthening vowels, elongating words and investing in the richness of language in ways we so rarely do in our modern world. If we have time, James will address status both of men and women and how it plays a part in structuring your monologue and role, and sort of physical demeanor such as stance and court manners your character might employ--what would their "physical vocabulary" be? All participants should prepare at least two verse pieces and that they be fully memorized. We will decide which one they want to work on that day.
James Carpenter has been a San Francisco Bay Area resident for 25 years. His Bay Area credits include ACT, San Jose Rep, TheatreWorks, Marin Theatre Company, over 30 productions with Berkeley Repertory Theatre, and he is an Associate Artist with the California Shakespeare Theater. His out-of-town credits include Shakespeare Santa Cruz, the Huntington Theatre Company, Arizona Theatre Company, Dallas Theatre Center, INTIMAN Theatre, and three seasons each with The Old Globe and the Oregon Shakespeare Festival. He is the recipient of numerous Drama-Logue, Backstage West, and Bay Area Theatre Critics Circle awards and was the 2007 recipient of BATCC's Barbara Bladen Porter Award for excellence in the arts. Screen credits include the feature films The Rainmaker and Metro, the independents Singing and The Sunflower Boy, and the television series Nash Bridges.
September 15th, 10:30am-12noon Introduction to the Alexander Technique
This class is designed to give students a basic understanding of the benefits of the Alexander Technique, and the chance to experience the Technique in action. This class will cover the origins of the Technique, practical applications of the Technique, and an opportunity to experience hands on work with a fully trained and certified teacher.
Why the Alexander Technique:
Whether you are singing, dancing or acting, playing an instrument or a sport, tension interferes with peak performance. Learn how to get rid of the tension that detracts from your ability to communicate fully and give your best performance.
As a performer, the Alexander Technique can help you with:
- Stage Presence
- Singing/Speaking
- Breath Control
- Stage Fright
- Movement
- Balance
- Poise
All these benefits pale in comparison with the positive changes the Technique can contribute to one's life off the stage. It can offer relief from:
- Migraine headaches
- Repetitive Strain Injuries
- Carpal Tunnel Syndrome
- Anxiety
Please bring a towel (or yoga mat) and several paperback books.
Bill Olson has been involved with the Alexander Technique for 20 years. In addition to teaching individual lessons, he has taught for numerous organizations, including Kaiser Permanente, TheatreWorks, Shady Shakespeare Company, Cupertino High School, Sacred Heart Cathedral Prep and Dragon Productions. Bill began studying the Alexander Technique as a means to enhance his own performance skills. He is an actor, juggler, puppeteer, and theatrical educator. As a performer he has worked with a wide variety of theatre companies in the San Francisco Bay Area, including San Francisco Shakespeare Festival, 42nd Street Moon, San Jose Stage Company and TheatreWorks. Bill is a certified teacher and member of the American Society for the Alexander Technique (AmSAT).
September 22nd, 10:30am-12noon Film Technique
Jeffrey Weissman is a 33-year veteran of film, theater, television, environmental, industrial and commercial acting. He’ll share the reality of what it is like to be thrown into the heart of Hollywood filmmaking. Jeffrey brings anecdotal information and on set techniques for attendees to get an insider's view into film acting. Making choices "in the moment", adding improv, matching business, working with difficult circumstances, on set protocol, and marketing in the new technology era.
He’s perhaps best known for taking over the role of George McFly in Back to the Future II and III, but he also co-starred with Clint Eastwood in Pale Rider, with John Lithgow in Twilight Zone: The Movie, plus many guest spots on TV: Saved By the Bell, The Man Show, Scarecrow and Mrs. King, Max Headroom, Dallas, Diagnosis Murder, and many other projects. He's worked with legendary directors such as George Miller, Louis Malle, Robert Zemeckis, Amy Heckerling, Catherine Harwicke, Clint Eastwood, Mark Rydell, Oz Scott and dozens of other industry greats. Jeffrey got rave reviews as winemaker Jerry Hannon in the mockumentary, Corked. And he's recently completed work on several short films, May You Not Rest, Shadow Angel, Four Cups of Joe, Bottle Caps and the indie features, Two Mothers, American Disciples, The Stranger Among Us and The Chateau Meroux. For more information visit: http://www.imdb.com/name/nm0919297/ and http://www.jeffreyweissman.com
Jeffrey Weissman teaches at the San Francisco School of Digital Filmmaking. He has also taught at Sonoma State University, Dominican University and other vocational institutions.
September 29th, 10:30am-12noon Iyegar Inspired Hatha Flow Yoga
A precise, yet playful practice for students of all levels of ability and yoga experience. This yoga class combines very detailed body alignment work, inspired by the tradition of B.K.S. Iyengar, with the joyous flow of a Vinyasa-based practice. Hope teaches the students in the room, so we will decide how vigorous or restorative we want it. Special attention will be given to the first three chakras and how we can find a moment for meditation in our lives every day. Please bring a yoga mat if you've got one!
Hope Mirlis is a virtual smorgasbord in the theatrical kitchen. A scoop of performer, a dash of producer, a handful of educator and a whole lot of energy. After growing up in New York, she spent over a decade in Atlanta where she co-founded a theatre company, ran a catering business, did a whole bunch of temp jobs and performed and choreographed at some amazing theatres. She is an active stage and commercial actress and is a dedicated teacher of acting, yoga and dance for all ages. She currently teaches movement and acting with Marin Theatre Co. and Cal Shakes. Her new venture 'Namaste Gourmet' combines private yoga sessions with a personal chef visit. Visit www.hopemirlis.com for more info.
Past Sessions
VIEWPOINTS WORKSHOP
Viewpoints is a technique for developing your kinesthetic awareness, creative imagination, physical/vocal flexibility, emotional freedom, and environmental sensitivity. Through the exploration of space, movement, gesture, rhythm, sound, and other 'viewpoints,' students will expand their consciousness and spontaneity. Viewpoints is used extensively in the dance and theatre worlds as a training tool and method for generating new work. Originally created in the 1970s by choreographer Mary Overlie, Viewpoints theory was adapted for stage acting by directors Anne Bogart and Tina Landau. Overlie's six original Viewpoints are space, story, time, emotion, movement, and shape, while Bogart's Viewpoints include tempo, duration, kinesthetic response, repetition, shape, gesture, architecture, spatial relationship, and topography.
PRANAYAMA BREATH WORKSHOP
The basics:
1. You are your own best healer.
(But sometimes the ability to heal gets a little stuck.)
2. Healing is as easy as breathing.
(Getting unstuck can be simple.)
3. Your breath is all it takes.
(It's true.)
Breath Work is a 2-stage active meditation based in the Pranayama yoga tradition. The use of this ancient breathing technique powerfully connects you to the innate energy centers embedded within the body. Expanding awareness and tapping into your own source energy creates an abundance of benefits, including:
Physical clearing of blocked energy
Emotional calm and balance
Mental clarity and focus
Reduction of stress and internal unrest
Restored vitality and a deep sense of well-being
The result? Expanded capacity for you to heal you.
Breath Work, as developed by healer and author David Elliott, is a simple technique to quiet the mind, balance the body, and deepen the connection to spirit. Your spirit. You know, the little voice deep within you that wants you to succeed and thrive? Breath Work amplifies that voice.
MUSICAL THEATER BOOTCAMP
Musical Theatre Bootcamp is a high energy class. In an hour and a half students will learn a song, stage the number and perform. Preparation is essential, so students will be asked to listen to "Coffee Break" from How to Succeed in Business Without Really Trying prior to class. We will be performing the number from the revival cast 1995. Sheet music can be printed out by clicking here, please bring it to the workshop. Wear dance clothes and get ready to have fun. This is an excellent class for making strong choices, honing your comedy chops and working on retention.
BREATH/VOICE: SOFT PALATE WORKSHOP
Mysteries of the Soft Palate Revealed: What it is, how it moves, how it works in relation to your breath, voice, articulators, and performance. A guided exploration, for Actors and Singers, we will focus on The Clear and Open Channel, how the Living Caverns of your body move together to allow breath, voice, and action. An introduction for beginners, a review for the more experienced. We will play with some text, be ready to move.
ACTING FOR CAMERA
What works on screen and what does not. How much is too much? Come work on some scenes for TV and film.
BREATH/VOICE: FREEING THE JAW & TONGUE:
This workshop will specifically target tension in the jaw and the tongue that may be blocking a true emotional connection and limiting the range of expression that your voice has. We will begin with a warm up into breath and sound. I will then teach you some exercises you can do to free your jaw and tongue so that your voice can flow forward on a genuine impulse, fully supported by the breath.
BASIC CLOWNING/JUGGLING SKILLS
Learn to juggle, spin plates, and balance stuff on your face! Circus skills are a fun addition to your special skills section of your résumé, and in this class we will explore scarves, balls, peacock feathers, and spinning plates. Even if you can already juggle, but would like to challenge your brain to learn some new tricks, come on by. If mats are available, some basic partner acrobatics will also be taught.
BALLET
Come remind your body how to be a dancer. All levels and styles can benefit from tuning up the body and the discipline that comes with ballet. Nancy is a wonderful attentive teacher with a wealth of experience to share.
USING SHAKESPEARES RHETORIC ONSTAGE
Rhetoric is almost a lost art. While misunderstood and even vilified in today’s society, it was an essential building block in any Elizabethan’s education and on Shakespeare’s stage. The complicated terminology, ancient history, and daunting scope, however, scare off all but the most diligent. Still, rhetorical devices – or linguistic patterns -- permeate and enrich the meaning, sound, and overall effect of Shakespeare’s verse. No play, no scene, almost no line remains untouched by rhetoric’s figuring; it is an indispensable thread in the fabric of Shakespeare’s poetry—a thread left mostly ignored in the modern theater. Beyond the foreign names and ancient history lies a secret doorway into Shakespeare’s world of profound intellect and deep feeling. This rhetorically created world, beyond all else, is a theatrical world, which actors and directors ignore to the detriment of their craft. By unraveling the tapestry of Shakespearean rhetoric, an actor not only will attain better command over the intellectual arguments and structure of Shakespeare’s verse, but also discover invaluable acting clues. Participants will learn the four basic theatrical groupings of rhetorical devices and how to physicalize them onstage in a way that clarifies intellectual argument, emboldens the playing of objectives and tactics, and opens access to deeper emotional connection.
COLD READ WORKSHOP
Many auditions include some sort of cold read. Come practice the skill with friends and colleagues. We will divide up sides and take 10 minutes to prep and then jump in reading. Cindy Goldfield will send out a short list of plays the weekend before so you can familiarize yourself with the plays, just as you would for a real audition.
FITZMAURICE VOICEWORK® PRESENCE
Would you like to approach presentations, speeches, auditions or interviews with a sense of presence, connection and power?
If so, come to this class to find out how to perform in high-pressure situations from your best self, utilizing your own naturally powerful voice.
In this class we will combine powerful visioning tools with Fitzmaurice Voicework® to help you rediscover and strengthen your connection to the true you within. From there you can tap into this authentic, creative and powerful you in the challenging situations you face in the real world in order to succeed with more of a sense of confidence and ease.
Become empowered by the experience of being capable of more than you thought possible.
Crossing the Threshold: An Introduction to the Michael Chekhov Technique
Stanislavski described Michael Chekhov as his most gifted pupil. Later in life Chekhov became a celebrated actor and theatre educator himself, but never achieved the same degree of recognition as his oft-referenced mentor. The Michael Chekhov technique is best described as an extension of Stanislavski's teachings. However, no exposure to the Stanislavski System is necessary to benefit from studying the Chekhov Technique. Chekhov's work is primarily focused on developing the imaginative experience and the actor's intuition. In this class we will explore the Chekhovian principles of Crossing the Threshold, Archetypal Gesture, and Atmosphere. It is highly recommended that all students memorize a brief monologue or a few lines of text from a contemporary American play to fully enjoy this exploration.
Tap
Tap your troubles away with a tap brush-up class for all levels. Wear tap or hard soled shoes. Come prepared to have fun! Nicole will lead the session, incorporating a warm-up, moving across the floor with vocabulary that will be used in the combination.
BIOGRAPHIES
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