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In order to ensure that we send you information on how to access your class, we will be closing registration two hours prior to the start of class. If you are interested in joining a class that has already started, please email school@berkeleyrep.org.

Youth and teen classes

Classes will be hybrid with weekly classes held online through Zoom meetings and final performances in person at the School of Theatre located at 2071 Addison Street, Berkeley. Students must be fully vaccinated and provide proof of vaccination to attend. Should public health require in-person classes to shift to a virtual format, please prepare a comfortable space to work in with access to your online device.

SAT 9:30–11am · 10/30, 11/6, 11/13, 11/20, 12/4, 12/11 · $145

 

Let’s get moving! Are you tired of sitting in front of your screen all the time? Make room for some dance! We will learn the latest Hamilton hip hop moves from “Yorktown (the World Turned Upside Down)” and High School Musical’s “We’re All in This Together.” Get up, get moving, and have some fun!

 

Lissa Ferreira has been teaching for 20+ years to students of all ages. She has taught at UC Davis, CSU Chico, Napa Valley College, Solano College, and SRJC, among others. She has directed 45 shows in California, the Bahamas, and Australia, and has acted in over 50. She is an award-winning choreographer (both dance and fight). After obtaining her MFA in Teaching and Directing, she co-founded Napa Valley Repertory Theatre. She also served as executive director of Theatre in the Mountains and Shakespeare in the Redwoods. One of her favorite teaching experiences was for CLAP in San Jose where she taught acting and directed a show with 1st–3rd graders. Lissa values creative expression in life and emphasizes authenticity, specificity, taking risks, and making bold choices.

 

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WED 4:30–6pm · 9/29, 10/6, 10/13, 10/20, 10/27 · $145

 

Play in the “materials” that create comedy and discover your own comedic self—lurking under your mask! Learn about spontaneity, rhythm, timing, and getting the laughs by exploring the clown, the mask, utilitarian objects, juggling, and physical improvisation. Share your latest laughs with family and friends during the last session of Serious Comedy!

 

Nancy Gold is a multifaceted performing artist, director, teacher, and author of Finding Your Funny Bone! The Actor’s Guide to Physical Comedy and Characters. She has studied physical theatre in Paris with Jacques LeCoq, mime with Claude Kipnis, and clowning with Ctibor Turba. She has a BFA from the University of Illinois and a Master’s equivalence. Her teaching experience includes Berkeley Rep School of Theatre, ACT Young Conservatory, Academy of Art University, California Shakespeare Theater, Marin Theatre, UCLA, and public and private schools throughout the country. Traditional directing credits include A Servant of Two Masters, Pippi Longstocking, Madeline and the Gypsies, and The Caucasian Chalk Circle. Nancy specializes in writing and directing original plays about empowering women for young audiences, including Thank You! RBG, Ella!, The Story of Jane, Showdown at the Amargosa, and most recently the film MY SHOT! Nancy loves to perform comedy and vaudeville with her partner, Lol Levy.

 

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THU 4:30–6pm · 10/7, 10/14, 10/21, 10/28, 11/4 · $145

 

Expand your imagination through improvisation! As an ensemble, students explore technique, theory, games, and tricks that help them open up to the kind of spontaneity that breeds better comedic timing on stage, stronger reactions in rehearsals, laughter at parties, and a lot more fun at family functions. All levels welcome. Returning students will be challenged with more advanced exercises.

 

Slater Penny is a local and international award-winning performing artist and instructor. He grew up in Berkeley and upon graduating from UC Santa Cruz with a BA in Theatre Arts, he began his circus training at the San Francisco Circus Center (SFCC). Since 1997, Slater has taught children circus arts at SFCC, Make-A-Circus, Trapeze Arts, Head Over Heels, Teatro Zinzanni, and the Kinetic Arts Center. Slater was a body performer for motion capture with Tech TV, earning an Emmy Award in 2000 for “Specialty: Technical Achievement.” He currently performs both nationally and abroad in his two award-winning creations, Le Projet Migration and The Submarine Show.

 

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MON 4:30–6pm · 10/25, 11/1, 11/8, 11/15, 11/22 · $120

 

Explore the tools of the actor through monologue and scene work. Students will spend time analyzing scripts and lots of time rehearsing with and performing for one another. Learn to access your own inner landscape and bring your character to life through expressive performance. Gain valuable rehearsal and stage experience, and feedback on your work. Brush up your skills, improve your stage presence and confidence as a performer, and hone your text analysis skills!

 

William Thomas Hodgson’s regional credits include Romeo (Oregon Shakespeare Festival), It Can’t Happen Here (Berkeley Rep), Calligraphy (TheatreWorks), Disney’s The Hunchback of Notre Dame (La Jolla Playhouse), An Octoroon (Mixed Blood Theatre), Trufaldino Says No (Shotgun Players), Seussical the Musical (Berkeley Playhouse), and I Am My Own Wife (Oakland Theater Project). He received his MFA from UC San Diego, and he is co-artistic director of the Oakland Theater Project. He has taught for Berkeley Rep School of Theatre, Berkeley Playhouse, ACT, UCSD, OSF, Park Day Middle School, Chatauqua Center, Roads Scholars, and more.

 

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WED 6:30–8pm · 10/6, 10/13, 10/20, 10/27, 11/3 (in person), 11/10 (live performance) · $165

 

Play helps us stay connected and laughter is the shortest distance between two people—through improv, you can bring play and laughter into your life during these times of uncertainty! This class is designed to introduce you to the thrills and chills of improv and to develop your acting and narrative skills to boot...all from the comfort of your own home. Tap into your sense of joy, connection, and creativity all while learning how to sharpen your improv skills both on stage and on screen.

 

Jon Burnett is a Bay Area teaching artist who currently works with 3–8 graders at the San Francisco Friends School (since 2002), and has frequently taught middle/high school students at the Berkeley Rep School of Theatre (play creation, play making, improv, and Monty Python sketch). He has worked locally at Porchlight, Cinnabar Theater, and La Luna. Jon is a founding member of The Incidentalists, a group dedicated to creating an eclectic array of long form improvised plays based on a few audience suggestions.

 

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Financial aid for youth and teen classes

Our financial situation, like many art organizations, has dramatically shifted. We will still be able to offer a limited number of partial financial aid scholarships for students enrolling in our youth and teen classes.

Families applying for financial aid must submit a minimum $25 deposit per student at the time of registration. This amount secures the student’s place in the program while their financial aid application is under consideration.

Complete our application form or email school@berkeleyrep.org.

Adult classes | Online

Online classes will be held through Zoom meetings. Zoom links will be emailed to students the day before class starts. If you do not receive your link, please email school@berkeleyrep.org.

Session 1 · TUE 7–9pm · 9/28, 10/5, 10/12, 10/19, 10/26 · $170 (Ransom)

 

Session 2 · TUE 7–9pm · 11/2, 11/9, 11/16, 11/23, 11/30 · $170 (Schacherer)

 

Develop a basic understanding of acting fundamentals through Stanislavski-based practice. Using exercises and scene work, this class introduces students to the elements of dramatic action, text analysis, and character development, as well as the tools for releasing inhibitions and expanding vocal and physical range. May be repeated.

 

Kenneth Ransom is a professional actor, teacher, and coach who has worked consistently in the industry for over 30 years in the US and Australia and has himself secured most of his recent work through self-tests. Most recently, on the Untitled Amazon Project and The Wilds, starring Rachel Griffiths, both shot in New Zealand this year. Kenneth’s acting credits include over 35 films and television productions, including Gods of Egypt with Geoffrey Rush, Gerard Butler, and Chadwick Boseman; China Beach with Dana Delaney and Michael Boatman; Equal Justice with Sarah Jessica Parker and Joe Morton; and Fame with Debbie Allen and Gene Anthony Ray. Kenneth has taught acting at most of the major actor training institutions in Australia, where he lives, and did a successful two-course stint at the Berkeley Rep School of Theatre last year.

 

Alyson Schacherer teaches in New York City, San Francisco, and Los Angeles (and worldwide thanks to Zoom). She is a union actor who has starred in the award-winning films Video, Apathy, and The Great Love Rosemary, and performed in numerous stage productions. She can also be seen in The Knick, Damages, Bored to Death, and the feature film We Only Know So Much. Directing credits include The Pavilion, called a “tantalizing revival” by the New York Times, Dying City, Gruesome Playground Injuries, among others. She wrote and performed her one-woman show, The Goldilocks Effect, at the Barrow Group Theatre Company where she also teaches acting.

 

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TUE 7–9pm · 9/28, 10/5, 10/12, 10/19, 10/26, 11/2, 11/9, 11/16, 11/23, 11/30 · $310

 

Build a strong portfolio of audition pieces for both film and theatre! Your monologue is your handshake. It’s your way of reaching out and introducing yourself to a director, casting director, or agent. Monologues are an important tool to help you thrive in the audition process. And they are a tool that many actors overlook. This is an ideal time to invest in yourself and be ready for the flurry of live and online auditions that will no doubt proliferate as we emerge from the current crisis. In this class we’ll look at types of monologues and situations that call for different kinds of pieces. We’ll examine in depth how to take a monologue apart, rehearse it, and set it on its feet. We will discuss the kinds of monologues that every auditioning actor should have in their portfolio. Along the way you will be asked to make an honest appraisal of your “type” and what kinds of monologues are best suited particularly for you. Lastly, we’ll experiment with the difference between using monologues for theatre and for film. The etiquette for each type of audition will be discussed and practiced. How to film your own auditions will also be emphasized as self-submissions are becoming more common and necessary. This class is a wonderful opportunity to really make use of this time of isolation in preparation for jump-starting your career.

 

Marvin Greene is a professional actor and has performed with major regional theatres such as ACT, Aurora Theatre Company, Marin Theatre Company, Westport Country Playhouse, Long Wharf Theatre, and San Jose Rep. Marvin served as an instructor at ACT for over a decade and also teaches at the Academy of Art College and Voice One in San Francisco. Marvin has taught at the Berkeley Rep School of Theatre since 2003.

 

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THU 7–9pm · 9/30, 10/7, 10/14, 10/21, 10/28, 11/4, 11/11, 11/18 · $265

 

Students will analyze and perform scenes straight from dramatic literature. Special emphasis is placed on encouraging students to make dramatically effective choices by playing provocative actions, discovering the event within the scene, and finding creative obstacles. May be repeated.

 

Prerequisite: Prior acting experience or previous acting classes at the Berkeley Rep School of Theatre or another reputable theatre studio that stressed the fundamentals of text analysis, beat breakdown, and character objectives.

 

Dawn L. Troupe is a passionate arts educator, actor, director, artist, and coach with over 30 years of experience in the arts. She has a BA in Psychology and an MA in Theatre Production. Dawn has performed in the Bay Area, Off-Broadway, and with regional theatres across the country. She has worked with notable actors, playwrights, directors, and productions on both the East and West Coasts. Her most recent work was with the “Great Comet” team of Rachel Chavkin and Dave Malloy performing a variety of roles in Moby Dick which originated as a Berkeley Rep Ground Floor workshop in 2017. She continues to work onstage as well as in film and television (catch her now in Kristian King’s short Twice As Good on NBC’s Peacock). Dawn is also a writer (stage and screen). Dawn uses a variety of acting methods in her classes (Stanislavsky, Meisner, Hagen, Viewpoints, etc.) and guides her students to approach their craft with truth. She believes that the craft of acting is not owned by any one method or person and therefore uses experiences, specificity, time, and one’s own personal truth to guide student progress.

 

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WED 7-9pm · 9/29, 10/6, 10/13, 10/20, 10/27, 11/3 · $200

 

Little known fact—as a playwright, Theresa Rebeck has had more straight plays produced on Broadway than any other female writer. She has written over 20 full length plays and is consistently produced all over the country. In this class, we will delve deeply into her work—her themes, characters, and style. You will leave with a better idea of her personally as an artist, where her work sits in the American dramatic canon, and how best to approach her work as an actor. Her work is smart, sexy, funny, fun, and is often smuggling deep and surprising insights in a sparse and dramatically effective surface.

 

James Wagner just starred in the regional premiere of one of Rebeck’s newest plays, Seared. He has performed professionally in four of her plays and worked with Rebeck at the Magic Theatre as she was developing What We’re Up Against, in which he originated the role of WEBER. James is a Los Angeles-based actor who has taught acting workshops in the Bay Area for over 10 years. As a teacher, he values a mastery of technique, explores a holistic approach, and particularly likes intensive psycho-physical approaches. James sees creativity as a sacred process and tries to support each student’s unique artistry. He is an MFA graduate of American Conservatory Theater and completed a PhD at the California Institute of Integral Studies, exploring supernormal capacities exhibited by professional actors.

 

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TUE 6:30-8:30pm · 9/28, 10/5, 10/12, 10/19, 10/26, 11/2 · $170

 

Advanced Acting is an intensive scene study course for students with previous acting training and/or experience. The class focuses on solidifying technique, deepening internal connection, and strengthening textual analysis skills. Scenes are drawn from a variety of styles and genres, and students should expect to spend substantial rehearsal time outside of class.

 

Alyson Schacherer teaches in New York City, San Francisco, and Los Angeles (and worldwide thanks to Zoom). She is a union actor who has starred in the award-winning films Video, Apathy, and The Great Love Rosemary, and performed in numerous stage productions. She can also be seen in The Knick, Damages, Bored to Death, and the feature film We Only Know So Much. Directing credits include The Pavilion, called a “tantalizing revival” by the New York Times, Dying City, Gruesome Playground Injuries, among others. She wrote and performed her one-woman show, The Goldilocks Effect, at the Barrow Group Theatre Company where she also teaches acting.

 

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MON 7–9pm · 9/27, 10/4, 10/11, 10/18, 10/25 · $170

 

This class will use Shakespeare’s The Winter’s Tale to practice script analysis—plot, character arc, beats, objectives, close reading, etc. in order to make the language sing while still sounding authentic. Students will also develop text work skills that pertain specifically to Shakespeare’s works, such as scansion, folio work, and dramaturgy to understand the text, pronunciation, and rhetoric of The Bard.

 

It is recommended to take Shakespeare: Soliloquies and Monologues in concert with this class.

 

Jennifer Le Blanc is an actor, director, playwright/adaptor, and teaching artist. Jennifer has acted regionally and internationally. Her plays and adaptations have been produced in the U.S. and Canada. Jennifer has taught for Perspective Theatre Company’s and Livermore Shakespeare Festival’s education programs, taught workshops at Cerimon House, and coached style and movement for productions at several local companies. Jennifer has an MFA from the National Theatre Conservatory and a BA in English Literature from UC Berkeley.

 

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SAT 1–3:30pm · 12/4, 12/11 · $100

 

How do actors, directors, designers, and other theatre professionals approach a script? This course will take you through the process of analyzing a play scene by scene, as you would in the first stages of a rehearsal process. Students will learn all elements of breaking down a scene (e.g., beats, objectives, obstacles) and experiment using secondary research to explore characters, actions, and circumstances. Our discussions will also emphasize the interdisciplinary nature of the production process, which includes research, interpretation, and collaboration. We’ll be working with two plays by Charles L. Mee: the first session will focus on Big Love, and the second on Wintertime, which will be performed at Berkeley Rep at the time of the workshop. You’ll be reading the first half of the play in preparation for attending the first day of workshop, and we will finish the play on the second day.

 

Maria Frangos has worked as dramaturg at Santa Cruz Shakespeare (Pride and Prejudice, The 39 Steps, Venus in Fur, and Undiscovered Shakespeare: The Wars of the Roses) and at the La Jolla Playhouse (Tony Kushner’s adaptation of Brecht’s Good Person of Setzuan). She has a PhD from UC Santa Cruz, where her work focused on comparative literature, drama, and Shakespeare. Maria has performed in The Grapes of Wrath with Ubuntu Theater Project in Oakland, and currently teaches courses such as Gender, Race, and Disability in American Drama and Modern Literature and Drama: From Page to Stage at UC Santa Cruz and Introduction to Drama at DeAnza College.

 

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WED noon–2pm · 9/29, 10/6, 10/13, 10/20, 10/27, 11/3, 11/10, 11/17, 12/1, 12/8 · $310

 

Ever wanted to write a play? Got a little time on your hands? Push that dream forward in a 10-week playwriting workshop online. We’ll meet weekly, discuss the basics of playwriting, and share excerpts of developing scripts. If you’ve never written a play before, this is a good way to get started. If you’ve got a script in the works, but no one to share it with, here’s a writer’s group ready to listen and respond supportively. Do you find (like most playwrights) that nothing motivates you like a deadline? We’ll provide that, too. Join us, and start working on that play you’ve always wanted to write.

 

Gary Graves is a playwright and director living in the San Francisco Bay Area. Since 1998, he has been a company co-director of Central Works “The New Play Theater” in Berkeley, California, where he has overseen the development of over 65 world premiere productions. He received a PhD in dramatic art at UC Berkeley in 1994, and he teaches playwriting at the Berkeley Rep School of Theatre throughout the year.

 

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WED 7–9pm · 9/29, 10/6, 10/13, 10/20, 10/27, 11/3 · $200

 

Want to make loads of money and tour the world with your own one person show? Find the truth in your story whether you’re telling it on a small screen or the world stage. Unleash the physical possibilities that lurk in each of us when tackling the solo form. Think of it as a sculpture class for your performance muscles or simply your personal boot camp in the battle to create your own one person show. Learn everything you need to develop, create, perform, and market your one person show in this six-week course! Whether the show inside you is an extended stand-up routine, a stirring memoir, or simply a story well told. Participants can bring in material they've developed as well as work with texts created in class and from a variety of non-traditional sources.

 

In a career that has spanned three decades and four continents, Ron Campbell has performed everywhere from the streets of Paris, Rome, and Florence to the Royal Albert Hall in London and the Fuji Dome in Japan. A recipient of the Fox Fellowship for Distinguished Achievement, the “King of the Clowns” in Cirque du Soleil’s Kooza, and award-winning one-man show practitioner (R. Buckminster Fuller, The Thousandth Night, Shylock, The Dybbuk, The Boneman of Benares, Beckett’s Eh Joe among others), Ron has trained with such luminaries as Philippe Gaulier, David Shiner, Min Tanaka, and Georges Bigot, and has taught physical theatre, clowning, and mask in Japan, Europe, and North America. An associate artist at California Shakespeare Theater, Ron has played everything from Richard the Third to Sherlock Holmes to Don Quixote, for which he received both the Bay Area Critic’s Award and Theatre Bay Area’s Outstanding Principal Performance Award. Ron is the founder and CEO of Soar Feat Unlimited.

 

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MON 6:30–9:30pm · 9/27, 10/4, 10/11, 10/18, 10/25, 11/1, 11/8, 11/15 · $425

 

Building on the skills developed through the Beginning and Intermediate Voice-Over courses, this voice-over class focuses on building skills needed to submit competitive auditions and begin working. Focus areas include the continuing refinement of audition recording quality from the student’s home studio, as well as shaping, refining, and individualizing each student’s singular voice. Students will focus on building competitive reads and approaches for current genres and copy. This class requires recording assignments outside of class sessions. Home recording equipment recommended. Students without a home studio can record assignments on their phone or other device that creates MP3s. Class size is limited.

 

Prerequisite: Completion of Intermediate Voice-Over, or permission from the instructor, are required to take this class.

 

Jim Edgar has been captivated by voice-over and recording his whole life. As a full-time VO, he has voiced a Star Wars Stormtrooper ornament warning kids to stay away from presents, the Levi’s Stadium Talking Scoreboard campaign, and appeared as an ongoing voice for John Muir Health. He works across all areas of voice-over with commercial, narrative, eLearning clients including Adobe, Exploratorium, Samsung, Visa International, Oracle, Cisco, and Eisenhower Healthcare. You may have heard him as Captain Thorn and the Evil Dr. Houser in the Deadwood Mansion VR Escape Room, Blackfeather the Assassin in VainGlory, Quigley the Robot in Leapfrog’s Letter Machine Rescue Team, The Birdman of Alcatraz in 1954 Alcatraz, or the laconic (and holographic) Bartender in Emerald Theater. Jim also works as an audio consultant to voice actors setting up home studios and is on the faculty at Voicetrax SF.

 

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SAT 1–5pm · 10/23 · $85

 

“Theatre is a weapon, and it is the people who must wield it”—Augusto Boal

 

Anti-Asian attacks, assaults, and hate crimes are on the rise. According to a Pew Research Poll, 45% of Asian American adults have recently experienced some kind of slur, threat, insult, or other hate-related incident. Many Asians are afraid to leave their homes, as the incidents become more frequent, more violent, and more deadly. Theatre of the Oppressed is a form of popular theatre that was developed in Latin America under conditions of ethnic cleansing and mass atrocity. It seeks to empower oppressed communities to resist, challenge, and transform oppression and systemic violence using theatre as a tool/language to envision and rehearse change. It is, as the founder Augusto Boal called it, “Theatre as a Martial Art.” This workshop/teach-in will explore ways of resisting, defusing, and transforming racism with a focus on anti-Asian hatred, aggression, and violence. Theatre of the Oppressed does not prescribe a predetermined method or canned formula for defusing an assault or aggression. Instead, it uses the charged energy of the theatrical space as a laboratory to explore all possible solutions. This allows the group to pool their collective, creative wisdom and ingenuity, while developing fluid, dynamic, in-the-moment responses. This is done while sharpening critical analysis of structural factors enabling oppression, allowing intelligent intervention as well as upstream engagement and advocacy. It also empowers allies and bystanders to take action rather than to remain passive witnesses to violence, injustice, and horror, building an enduring sense of solidarity and allyship. If you’ve felt helpless, dismayed, outraged, or fearful at the attacks on your family, community, friends or neighbors, this is the workshop for you. This approach is designed to give participants concrete tools and insights, empowering you to be an active agent—an actor—in any situation, rather than a victim or a spectator to violence. This allows the insight, healing, and true empowerment that comes from awareness, preparedness, and genuine solidarity in justice. No theatre experience required. Please dress to move.

 

Jiwon Chung is a professional actor, director, and a key theorist of Theatre of the Oppressed. He is the Artistic Director of Kairos Theater Ensemble, adjunct professor of Theater and Social Justice at Starr King School at the Graduate Theological Union, and past President of the national organization for Theatre of the Oppressed. Author of numerous books, articles, and performances, he is considered a pioneer in the integration of somatics, Theatre of the Oppressed, and socially engaged art. The focus of his work is in the application of theatre as a tool for social and political change, using Theatre of the Oppressed to challenge, resist, and transform systemic oppression and structural violence and to redress large-scale historical atrocity and injustice. His approach to performance and social change is informed by his background as veteran, martial artist, and three decades of vipassana meditation.

 

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SAT 1–4pm · 11/20 · $65

 

“Within this fathom-long body, lies the world of suffering, its cause, and its liberation.”—Gautama Buddha

 

All oppression involves the body—the body holds and reflects the experience of its oppression. Fear, anxiety, and oppression bleed their way into the habits of our human expression, trapping, binding, and shutting down our natural spontaneity and aliveness, making us mechanized, divided, and imbalanced in our bodies and our minds and isolated, aggressive, or confused in our relationships and interactions. The original form of mindfulness—the mind’s capacity to observe itself, reflect, and transform—is theatre. This workshop will explore the rich, deep, powerful practices of mindfulness, dishabituation, and embodiment within the corpus of Augusto Boal’s Theatre of the Oppressed, focusing on practical techniques for transforming and finding liberation through somatic and energetic awareness in the personal, interpersonal, and political dimensions. We will use demechanization, dynamization, image theatre, forum theatre, and rainbow of desire while developing presence, focus, and a strong capacity for meditative awareness. Open to anyone with a desire to use theatre, art, and meditation to explore a powerful approach to transforming self and society. Please dress comfortably to move.

 

Jiwon Chung is a professional actor, director, and a key theorist of Theatre of the Oppressed. He is the Artistic Director of Kairos Theater Ensemble, adjunct professor of Theater and Social Justice at Starr King School at the Graduate Theological Union, and past President of the national organization for Theatre of the Oppressed. Author of numerous books, articles, and performances, he is considered a pioneer in the integration of somatics, Theatre of the Oppressed, and socially engaged art. The focus of his work is in the application of theatre as a tool for social and political change, using Theatre of the Oppressed to challenge, resist, and transform systemic oppression and structural violence and to redress large-scale historical atrocity and injustice. His approach to performance and social change is informed by his background as veteran, martial artist, and three decades of vipassana meditation.

 

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WED 7–9pm · 11/3, 11/10, 11/17, 12/1, 12/8 · $170

 

Theatre of the Oppressed, conceived by Augusto Boal, is a collection of games, techniques, and exercises for using theatre as a vehicle for personal and social transformation. It uses the dynamized human body and the charged theatrical space as laboratories for exploring power, transforming oppression, and finding solutions to the fundamental problems of conflict, inequality, injustice, and human suffering. This workshop will introduce basic techniques (demechanization, dynamization, image theatre, forum theatre) from the Theatre of the Oppressed, with an end to understanding their application as practical and essential tools for artistic development, creative expression, social engagement, and personal transformation. This class is open to both experienced and beginning performers, as well as anyone interested in exploring art as a method for social and personal change, while developing spontaneity, fluidity, presence, creativity, and critical intelligence.

 

Jiwon Chung is a professional actor, director, and a key theorist of Theatre of the Oppressed. He is the Artistic Director of Kairos Theater Ensemble, adjunct professor of Theater and Social Justice at Starr King School at the Graduate Theological Union, and past President of the national organization for Theatre of the Oppressed. Author of numerous books, articles, and performances, he is considered a pioneer in the integration of somatics, Theatre of the Oppressed, and socially engaged art. The focus of his work is in the application of theatre as a tool for social and political change, using Theatre of the Oppressed to challenge, resist, and transform systemic oppression and structural violence and to redress large-scale historical atrocity and injustice. His approach to performance and social change is informed by his background as veteran, martial artist, and three decades of vipassana meditation.

 

Register

MON 7–9pm · 9/27, 10/4, 10/11, 10/18, 10/25 · $170

 

Play helps us stay connected and laughter is the shortest distance between two people—through improv you can bring play and laughter into your life during these times of uncertainty! This class is designed to introduce you to the thrills and chills of improv and to develop your acting and narrative skills to boot…all from the comfort of your own home. Tap into your sense of joy, connection, and creativity all while learning how to take your improv acting from the stage to the screen.

 

Kasey Klemm is a professional improviser with 20+ years of experience. He is the former artistic director of BATS Improv, San Francisco’s longest running and most-acclaimed improvised theatre company, and cites Keith Johnstone as one of his biggest influences. Kasey’s easy going nature and passion for improvisation helps create a playful space for students of all levels to explore their inherent creativity and take risks in a positive and supportive environment.

 

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THU 7–9pm · 9/30, 10/7, 10/14, 10/21, 10/28, 11/4, 11/11, 11/18 · $265

 

Dive into the possibilities of improvised theatre online. We’ll do lots of scene work to deepen comfort and spontaneity in a variety of genres. Work on establishing character, building and exploring the world of the scene, and co-creating story together. You will receive direct, tailored, and supportive feedback. No matter what, we will play and laugh. A lot.

 

Zoe Galvez has been teaching and performing improv over a decade. She is a member of the Screen Actors Guild (SAG) and the American Federation of Television and Radio Artists (AFTRA) and a Main Stage company member of the nationally acclaimed BATS Improv. Zoe has introduced thousands of people to the magic of improv in the Bay Area and beyond. She is a pioneer in bringing improvisational theatre to the world of business with Unscripted Leaders. Zoe believes the world would be a better place if everyone took an improv class. She studied improv and acting with David Razowsky, Uta Hagen, Keith Johnstone, Rebecca Northan of Loose Moose, SF Mime Troupe, Anne Bogart and the SITI company, BATS, The Groundlings, and The Moscow Art Theatre. Ask her about her dog Mochi!

 

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WED 7–9:30pm · 9/29, 10/6, 10/13, 10/19, 10/27, 11/3, 11/10, 11/17, 12/1, 12/8 · $375

 

One of the joys of improvisation is sharing the creativity and spontaneity with an audience. This class introduces the skill of performing improvisational games and stories in a light and generous atmosphere. Students explore the philosophy of “giving” rather than “shining,” and practice interaction techniques that demystify the perceived barriers between performers and an audience. There will be one scheduled performance during class time. Class size is limited to eight.

 

Prerequisite: Approval from instructor prior to registration.

 

Kasey Klemm is a professional improviser with 20+ years of experience. He is the former artistic director of BATS Improv, San Francisco’s longest running and most-acclaimed improvised theatre company, and cites Keith Johnstone as one of his biggest influences. Kasey’s easy going nature and passion for improvisation helps create a playful space for students of all levels to explore their inherent creativity and take risks in a positive and supportive environment.

 

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THU 7–9pm · 10/7, 10/14, 10/21, 10/28, 11/4, 11/11 · $200

 

Learn physical triggers that will help you quickly find the placement, melody, and general sound changes for the Northern Ireland dialect and surrounding areas. We will study the dialects in a multi-sensorial way, with a focus on the physical changes, phonetic sound changes, and immersion (listening to primary sources of the dialects). In the final two weeks of the class, each student will pick a specific sound source of the Northern Ireland area to research and will present the sound changes of this specific region’s dialect to the class, as well as perform a monologue from a play or film, utilizing that specific region’s dialect.

 

Rebecca Castelli holds a BA in voice and theatre and an MFA in acting. Previously from Seattle, she won a Seattle Times Footlight Award for her role of Mabel in The Pirates of Penzance, and also had the honor of acting with Tony award-winning actress Judy Kaye in Gypsy at 5th Avenue Musical Theatre Company. She was a company member of the Marin-based Porchlight Theatre Company for five years and had leads in many of their mainstage productions, including Chekhov’s Three Sisters and Oscar Wilde’s An Ideal Husband. Locally, Rebecca has also acted with Shotgun Players and Cinnabar Theater Company. She dialect coaches for various Bay Area theatres, including Shotgun Players, Theatre Rhinoceros, Town Hall Theatre Company, Mendocino Theatre Company, Virago Theatre Company, and Ross Valley Players. She is a founding member of The Incidentalists, a long-form improvisational group based in Oakland.

 

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SAT 1–3pm · 11/6 · $45

 

Bring more creativity and comfort in your daily life by improving your posture! A better posture improves your breathing, your voice, and how you feel. And how you feel affects your posture. Everyone can benefit from the Feldenkrais Method® Awareness through Movement—from athletes and artists to administrators and attorneys. This method helps to rewire the nervous system in order to become aware of habits and eliminate unnecessary movements, which are often the source of limitation and discomfort. Improve physical function and health, reduce pain, increase sensitivity and vitality, and expand creativity by widening the perception you have of yourself. This is an opportunity to feel refreshed while improving self-esteem. Open to all levels.

 

Christine Germain is a movement explorer, dancer, and choreographer. She takes pleasure in discovering new ways to move. She is intrigued by how people move by themselves in relationship to others and space. After traveling and studying various dances around the world, Christine earned her BFA in dance from Concordia University (Montréal, Canada) in 2007. The Feldenkrais Method® helped her to recover from a serious injury and a car accident, which allowed her to get back to dance and even circus. This convinced her to become an instructor and practitioner of the Method. She recently graduated with a Master of Fine Arts in Dramatic Arts with specialization in choreography at UC Davis, where she teaches dance and Awareness Through Movement.

 

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SAT 1–3pm · 11/13 · $45

 

In a time where the unknown can bring anxiety, this is a good moment to tune in. Whether you want to know yourself better, or want to understand your colleagues in order to improve communication, this class will offer you many tools to improve your well-being and quality of life. Students will explore many different ways of breathing which will allow access to parts of yourself that may not have been accessible before. Some lessons will be on our back, some sitting, and some will require you to move. However, if you’re in a wheelchair and certain movements are not accessible, the instructor will help you modify as needed. You can even do parts of the lesson in your imagination. The neurotransmitters will still be active, and you’ll still receive the benefit of the work!

 

Christine Germain is a movement explorer, dancer, and choreographer. She takes pleasure in discovering new ways to move. She is intrigued by how people move by themselves in relationship to others and space. After traveling and studying various dances around the world, Christine earned her BFA in dance from Concordia University (Montréal, Canada) in 2007. The Feldenkrais Method® helped her to recover from a serious injury and a car accident, which allowed her to get back to dance and even circus. This convinced her to become an instructor and practitioner of the Method. She recently graduated with a Master of Fine Arts in Dramatic Arts with specialization in choreography at UC Davis, where she teaches dance and Awareness Through Movement.

 

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Special offers

Sign up for two $170 adult classes and pay $310, or two $200 adult classes and pay $360—save 10%!

Current Berkeley Rep season subscribers receive 10% off classes.

Blue Star families receive 15% off classes. Please email school@berkeleyrep.org to register.

Discounts may not be applied to certain classes.

 

Payment plans available

Email school@berkeleyrep.org to set up a payment plan for classes.

 

School of Theatre major sponsors

Jonathan Logan Family FoundationWells Fargo

Gisele & Kenneth F. Miller

The Woodlawn Foundation

Adult classes | In person

We will be offering a limited number of in-person classes with proper COVID safety measures, held at the School of Theatre located at 2071 Addison Street, Berkeley. Students must be fully vaccinated and provide proof of vaccination to attend. Should public health require in-person classes to shift to a virtual format, please prepare a comfortable space to work in with access to your online device.

SAT 10:30am–12:30pm · 10/2, 10/9, 10/16, 10/23, 10/30, 11/6, 11/13, 11/20 · $265

 

Students will focus on creating character by thoroughly understanding the relationship between the text, situation, and the technical aspects of camera work. When these fundamental tools are genuinely understood and used correctly, only then can actors be free to work to the best of their ability in front of a camera. Areas of study will include script analysis, scene study, and character development, as well as camera technique, set discipline, and set etiquette. All scenes will be rehearsed with direction from the instructor, and copies will be given to students for their reference; please bring a 16GB SD card. A variety of other subjects will also be discussed relating to the business side of show business, including audition technique, agents, union membership, photographs, and websites.

 

Students must be fully vaccinated and provide proof of vaccination to attend. Class will be held at the School of Theatre located at 2071 Addison Street, Berkeley.

 

Marvin Greene is a professional actor and has performed with major regional theatres such as ACT, Aurora Theatre Company, Marin Theatre Company, Westport Country Playhouse, Long Wharf Theatre, and San Jose Rep. Marvin served as an instructor at ACT for over a decade and also teaches at the Academy of Art College and Voice One in San Francisco. Marvin has taught at the Berkeley Rep School of Theatre since 2003.

 

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MON 6:30–8:30pm · 11/1, 11/8, 11/15, 11/22, 11/29 · $170

 

Words are not just things we say: they are effective tools and dangerous weapons we use to move and provoke those around us. And as we all know, some words cut deeper than others. No one understood this better than Shakespeare. In this class, we’ll use Shakespeare’s soliloquies and monologues to focus on the language used by his greatest characters, the choices behind their words, and how to put those words together and say them with impact. The Winter’s Tale will be explored along with pieces of students’ choice.

 

Students must be fully vaccinated and provide proof of vaccination to attend. Class will be held at the School of Theatre located at 2071 Addison Street, Berkeley.

 

Andrew Hurteau has been acting and teaching since graduating with an MFA from American Conservatory Theater. Andrew is an award-winning actor who has performed with Berkeley Rep, American Conservatory Theater, California Shakespeare Theater, the Magic Theatre, Marin Theatre Company, Aurora Theatre Company, and across the country. In addition to the Berkeley Rep School of Theatre, Andrew has taught at ACT, Academy of Art University, and the Nueva School.

 

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WED 7–9pm · 9/29, 10/6, 10/13, 10/20 · $170

 

Storytelling is an art form as old as human civilization and there has never been a better time to explore personal stories from the heart than in this current moment. Our personal stories are dovetailing into the global narrative, resulting in powerful tales yearning to be told. Whether you have a solo show dying to be birthed or you want to hone your storytelling skills for professional reasons, this class will help you harness your creativity, trust your instincts, quiet your inner critic, and find your unique voice. Through acting, improv, and writing exercises, we will get that story out of your head and into the world. There will be a final showcase of work on the last night of the class for an invited audience.

 

Students must be fully vaccinated and provide proof of vaccination to attend. Class will be held at the School of Theatre located at 2071 Addison Street, Berkeley.

 

Joyful Simpson is an actress, writer, and creativity educator who combines improv theatre, behavioral sciences, and mindfulness to create dynamic trainings for businesses and institutions. She studied theatre and psychology at Sarah Lawrence College in New York and earned an MFA in Dramatic Art from UC Davis. While at Davis, she spearheaded an applied improv-based training program for the Graduate School of Management. In 2013 she founded Pro-CreativeArts—an applied theatre organization—and is hired throughout the United States to lead trainings that foster creativity, collaboration, and communication for teams and leaders. Born into an iconic theatre family, she brings to her classes a unique body of experience gained from creating and performing theatre professionally since childhood. Her solo comedy recently won Best of Fringe at the 2016 San Francisco Fringe Festival. Her theatre credits include lead actor and co-author of four plays for “Prize of Hope”-winning company Human Nature and co-founder of the ensemble-driven theatre company Rococo Risqué, winner of SF Weekly Best Theater Ensemble 2005. Joyful has also appeared as an actor in many projects on stage and film, including Odyssey Works, an immersive theatre project; The Pursuit of Happiness, with Will Smith; and Spring Awakening, directed by Broadway and West End director Stafford Arima.

 

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THU 7–9pm · 9/30, 10/7, 10/14, 10/21, 10/28 · $170

 

Imagination is our creative engine. Play is a state of mind. The two together can lead to deep transformations in your performance and individuation process. Is imagination multifaceted? Does creativity have steps? Can a game be made out of anything? Yes. Yes. And Yes. Bring fresh wonder back to your acting and re-shape your creative process! Working with scripted text, we will explore imagination and play theory and discover the many ways it can enrich your acting process.

 

Students must be fully vaccinated and provide proof of vaccination to attend. Class will be held at the School of Theatre located at 2071 Addison Street, Berkeley.

 

Colum Parke Morgan is happy to be back in the US, as a recent transplant to San Francisco. After working regionally for many years with an MFA in American Realism, Colum moved to Paris, France for six years and embarked on a study in European and Russian theatre methodologies. He studied with many great teachers, including Gennadi Bogdanov, Sergei Ostrenko, Norman Taylor, Theatre De L’Ange Fou, Robin Carr, as well as École Internationale de Théâtre Jacques Lecoq. Now he returns to the US as a graduate of Integral Movement and Performance Practice (IMPP) from the Thomas Prattki Center in Berlin, Germany. As an actor, Colum has worked internationally. In Paris, Colum worked in many new works, including immersive theatre at the Centre Culturel Irlandais with Cinémorphe. He was a company member with Big Funk Company and NEW! The Improvised Musical, he toured France with Z Space’s Word for Word, and worked for many years as a resident actor with the award winning Compagnie Oz. Regionally in the US, Colum has been a resident actor with PCPA, and performed many shows with Austin Shakespeare, Oregon Cabaret Theatre, ZACH Theatre, Jarrott Productions, and State Theatre. He brings together a deep understanding of theatrical methods and the ways they overlap and are unique, supported with recent findings in psychology, neurology, and behavior sciences. He received his MFA from University of Texas, Austin.

 

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MON 7–9:30pm · 10/18, 10/25, 11/1, 11/8, 11/15, 11/22 · $265

 

Ready to rejoin the fight? Why not swing medieval steel! Learn to create the illusion of violence while studying the basics of theatrical swordplay. Students will learn to layer acting skills and stage combat technique to create convincing scenes containing theatrical violence. All students will have the opportunity to rehearse and perform scenes that include a choreographed fight and take a “Skills Proficiency Test” for recognition as a Theatrical Combatant with Dueling Arts International. Class size is limited to 10. Full fingered gloves are required.

 

Students must be fully vaccinated and provide proof of vaccination to attend. Class will be held at the School of Theatre located at 2071 Addison Street, Berkeley.

 

Dave Maier is a prolific fight director who has choreographed violence for over 300 professional and college productions. He is the resident fight director at San Francisco Opera, California Shakespeare Theater, and Oakland Theater Project. He has been awarded several honors including six San Francisco Bay Area Theatre Critics Circle Awards, five Theatre Bay Area Awards, and a Falstaff Award. He is recognized as a senior instructor with Dueling Arts International and is a founding member of Dueling Arts San Francisco. He has taught combat related courses at Stanford University, University of California Santa Cruz, St. Mary’s College of California, San Francisco Conservatory of Music, Studio ACT, Berkeley Rep School of Theatre, and national workshops for Dueling Arts International, as well as independent workshops through Dueling Arts San Francisco.

 

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MON 7–9pm · 11/1, 11/8, 11/15, 11/22, 11/29 · $170

 

Connect with your body and discover new depths of your mind! Butoh is an avant-garde Japanese physical-theatre dance form developed in the 1950s by Tatsumi Hijikata and Kazuo Ono. It illuminates the wonders of the unconscious, the abstract, and the integrated imagination through the body. The fundamental movement work of this class will enable students to more consciously engage body, mind, and feelings simultaneously. This class will help participants develop sensory awareness and engage in embodied expression through durational and imagery-based work that engages the somatic-imagination. Using sense-memory and visualizations, we will embark on embodied explorations of different landscapes, states of being, and the connections that create the world within and around us.

 

Students must be fully vaccinated and provide proof of vaccination to attend. Class will be held at the School of Theatre located at 2071 Addison Street, Berkeley.

 

Iu-Hui Chua choreographs, performs, directs, and devises experimental physical theatre, dance, and video performance. Chua has performed professionally with Anna Halprin, Dandelion Dancetheater, Headmistress, Inkboat, Disneyland, and was a founding member of the butoh company, Ledoh and Salt Farm, for 14 years. She is an award-winning dance-film artist whose video and live performance works have been supported nationally and presented in North America, Asia, and Europe. She directed Gruesome Playground Injuries, nominated for “Outstanding Production of a Play” by the Theatre Bay Area Awards in 2015. Chua has taught dance as a lecturer at the University of California Davis and currently works as a professional expert teaching movement for actors at Tamalpais High School’s Conservatory Theatre Ensemble program.

 

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THU 7–9pm · 11/4, 11/11, 11/18, 12/2, 12/9 · $170

 

Revisit some old classics! How can mime and fixed point help the modern actor with objects on stage? How can the actor illuminate space using neutral mask etudes? Free the body to express itself naturally: explore some Delsarte poses and anchor a monologue or practice some biomechanics to build relaxation. A perfect post-COVID class for the body. These rare classics are a collection of old movement techniques that trained actors for generations—find out why!

 

Students must be fully vaccinated and provide proof of vaccination to attend. Class will be held at the School of Theatre located at 2071 Addison Street, Berkeley.

 

Colum Parke Morgan is happy to be back in the US, as a recent transplant to San Francisco. After working regionally for many years with an MFA in American Realism, Colum moved to Paris, France for six years and embarked on a study in European and Russian theatre methodologies. He studied with many great teachers, including Gennadi Bogdanov, Sergei Ostrenko, Norman Taylor, Theatre De L’Ange Fou, Robin Carr, as well as École Internationale de Théâtre Jacques Lecoq. Now he returns to the US as a graduate of Integral Movement and Performance Practice (IMPP) from the Thomas Prattki Center in Berlin, Germany. As an actor, Colum has worked internationally. In Paris, Colum worked in many new works, including immersive theatre at the Centre Culturel Irlandais with Cinémorphe. He was a company member with Big Funk Company and NEW! The Improvised Musical, he toured France with Z Space’s Word for Word, and worked for many years as a resident actor with the award winning Compagnie Oz. Regionally in the US, Colum has been a resident actor with PCPA, and performed many shows with Austin Shakespeare, Oregon Cabaret Theatre, ZACH Theatre, Jarrott Productions, and State Theatre. He brings together a deep understanding of theatrical methods and the ways they overlap and are unique, supported with recent findings in psychology, neurology, and behavior sciences. He received his MFA from University of Texas, Austin.

 

Register

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