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Classes will be held online 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.

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

SAT 9:30–11am · 7/10, 7/17, 7/24, 7/31, 8/7, 8/14 · $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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TUE–SAT 1–4pm · 7/6–10 · $275

(with breaks taken as needed, via Zoom and guided individual activities)

Evening performance 7/10 (virtual)

 

Combine your love of singing, acting, and dancing in this performance-based musical theatre intensive with Broadway and Berkeley Rep actor Jarvis B. Manning, Jr. Actors will explore new singing techniques and choreography. Students will also learn how to explore and act a song, including text interpretation, subtext work, and making strong movement choices.

 

Jarvis B. Manning, Jr. is a native of Houston, TX, where he studied classical voice at the Grammy Award-winning High School for the Performing and Visual Arts (HSPVA). He moved to New York to attend American Music and Dramatic Academy (AMDA) and pursue a career in entertainment. Jarvis has been able to travel the world (for free) performing on many historical stages. He’s an original company member of Ain’t Too Proud—The Life and Times of The Temptations portraying Al Bryant and Norman Whitfield. He has been with the show since the first workshop and world premiere at Berkeley Rep in 2017. Favorite credits include: SUGA FOOT music video (produced by Jarvis), Hairspray (Seaweed), Ragtime (Pas De Deux), Nickelodeon’s The Backyardigans, Motown: The Musical (Jackie Wilson, Rick James), and Ain’t Too Proud (Al Bryant, Norman Whitfield).

 

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MON–FRI 1–4pm · 7/26–8/6 · $470

(via Zoom and guided individual activities)

Evening screening 8/6 (virtual)

 

Unlock your inner filmmaker while exploring your smartphone’s camera, or your family camcorder or DLR camera’s full filmmaking potential! This do-it-yourself filmmaking class will focus on building acting for the camera skills, screenwriting, filming, and how to put it all together with editing software. This filmmaking and acting intensive will cover pre- and post-production, and concludes with a final screening for family and friends. Students will be immersed in on-camera acting theory and practice. Students will perform for the camera multiple times to develop and demonstrate their understanding of acting for film. The intensive will shift gears, taking students behind the camera to learn film theory from all major disciplines, including screenwriting, directing, and editing/post-production.

 

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MON–FRI 10:30am–4pm · 7/12–23 · $550

(with a lunch break, via Zoom and guided individual activities)

Evening performance 7/23 (virtual)

 

Collaborate with a professional playwright/director and form an artistic company in order to create and present an original performance piece! Text, movement, sound, and multi-faceted backgrounds will be incorporated in order to create a dynamic and kinetic online environment. Students will also immerse themselves in acting, voice, and movement classes.

 

Admittance into High School Summer Company will require an interview for selection. Please email school@berkeleyrep.org. All experience levels are welcome to apply! We are looking for students that will commit to working rigorously in class and outside of class. The company will meet mostly online and some sessions will be in person outside in the Berkeley Rep courtyard while adhering to all CDC and City of Berkeley health guidelines.

 

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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Financial aid

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

VIRTUAL UNLESS OTHERWISE NOTED

TUE 7–9pm · 7/6, 7/13, 7/20, 7/27, 8/3, 8/10 · $200

 

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.

 

Safiya Fredericks has been a working actor navigating this business for several years. After studying at the London Academy of Music and Dramatic Art and bumbling around New York, she found her way to a steady career in regional theatre, most recently onstage as a company member at the Oregon Shakespeare Festival. She has previously worked at ACT, SF Playhouse, South Coast Rep, Yale Rep, Berkeley Rep, and others. She was the recipient of the Bay Area Theatre Critics Circle Award for Best Featured Actress for her work in black odyssey at Cal Shakes after being nominated once before for her role as the Witch in Into the Woods. You can see her in the film Bitter Melon now streaming on all platforms, and the upcoming I’m Charlie Walker with Mike Colter.

 

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TUE 7–9pm · 7/6, 7/13, 7/20, 7/27, 8/3, 8/10 · $200

 

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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SAT 10:30am–12:30pm · 7/10, 7/17, 7/24, 7/31, 8/7, 8/14 · $200

 

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.

 

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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FRI 7–9pm, SAT & SUN 10am–3pm · 7/23–25 · $200

 

Most of us feel happiest when we are growing and learning, we feel “in the zone,” but staying there requires continual practice. We can easily stagnate or even slide backwards. This intensive is designed to keep you in the flow of playful challenge. You will be assigned a scene, handpicked to facilitate your personal, artistic, and professional growth. You will also receive coaching to integrate, personalize, and optimize technical aspects of voice, movement, speech, and acting. When you leave this intensive, you will have a clear plan of action for how to sustain and develop what you learned in class. These intensives happen two or three times per year—and are designed to give short intensive bursts of growth, followed by coaching and support to help you integrate the intensive experience. This should keep you energized for a good three or four months of creative growth!

 

Scenes and scene partners are assigned in advance—so the sooner you enroll, the more you’ll get out of the process.

 

James Wagner is a Los Angeles-based actor who has taught acting workshops in the Bay Area for over 10 years. As a teacher, he explores cutting-edge acting techniques—believing that we live in an evolving universe and that acting must have its own evolutionary trajectory. He uses integrative techniques that connect body, mind, emotion, and spirit to the various aspects of spatial and interpersonal relationships on stage. James also believes the creative process can be more than just a craft and a profession, but also a sacred process and a transformative practice. He is an MFA graduate of American Conservatory Theater and has a PhD in Transformative Studies from California Institute of Integral Studies.

 

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MON 6:30–8:30pm · 7/12, 7/19, 7/26, 8/2, 8/9, 8/16 · $200

 

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.

 

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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TUE 7–9pm · 7/13, 7/20, 7/27, 8/3, 8/10 · $200

 

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 be also 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 (2071 Addison Street, Berkeley) with a maximum of 10 participants.

 

Rolf Saxon (AEA, BAE, SAG/AFTRA) trained with ACT’s first Young Conservatory class and the Guildhall School of Music and Drama in London. Working extensively in film, television, and theatre, including the Royal Shakespeare Company and Theatre Complicte as well as West End and regional productions, his film and television credits include over 25 films and being a regular on three television series. Among others, he has worked with Tom Cruise, Brian De Palma, Vin Diesel, Tom Hanks, Daryl Hannah, Helen Mirren, Trevor Nunn, Ryan Reynolds, and Steven Spielberg. A director in both theatre and film, he has also been a private tutor and coach for over 20 years teaching including the Drama Lab (London) and the Guildhall School of Music and Drama (London). Currently, he is an Adjunct Professor of Drama at Ohlone College, teaches at the Berkeley Rep School of Theatre, SFAA, and the Royal Central School of Speech and Drama in London.

 

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SAT 10:30am–noon, WED 6:30–8:30pm · 7/10, 7/14, 7/17, 7/21, 7/24, 7/28, 7/31, 8/4, 8/7, 8/11 · $275

 

Revive, craft, develop, polish, and evaluate your audition pieces in order to get the callback and the job! We will place your pieces in context (live or self-tape) and in space with the goal to entertain, move, and surprise. Please select two pieces: one modern and one classical. Instructor will also give suggestions.

 

Jeffrey Bihr, a native San Franciscan, has worked as an actor, director, composer, and educator for the last 30 years. Jeffrey was a company member for seven seasons at Berkeley Repertory Theatre and is a member of the International Acting Company of Tadashi Suzuki, having performed with the company since 1987. He was a founding member of SITI Company with Anne Bogart. Jeffrey’s many directing credits include Stanford Repertory Theater; Word for Word; Britten’s Curlew River starring Chanticleer; The Misanthrope in Munster, Germany; The Greeks in London; Noodle Doodle Box for Berkeley Repertory Theatre; The Taming Of The Shrew for California Shakespeare Theater; Modiligani for Marin Theatre Company; and he has composed numerous play and film scores. He has served as core faculty at ACT’s MFA program and Stanford for seven years, and taught at Saratoga International Theater Institute, Drama Studio London, and Berkeley Rep. Jeffrey has won numerous awards including Bay Area Critics Circle and Dramalogue awards for acting and directing and CINDY award for film composition.

 

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THU 7–9pm · 7/15, 7/22, 7/29 · $100, $65 audit

 

This year of virtual work has changed the industry forever. Self-taping and virtual auditions were already a trend, but now the whole industry has taken massive leaps in that direction—creating innovative and often better ways of working that won’t go away. One thing is for sure, more auditions are available to you than ever before, and more of those auditions are happening via tape or Zoom. The industry is evolving, this class will help you evolve with it. In this class you will learn how to find more self-tape auditions, how to get and use all the equipment you need to make your self-tapes look professional (without breaking the bank), and how to actually execute your self-tapes, virtual auditions, and callbacks at a competitive level. Using material from theatre, film, and television—our goal will be to help the actor create compelling and competitive work to…BOOK. THE. JOB.

 

Class is limited to 12 participants. Unlimited auditors will be able to participate in discussions and ask questions, but will not turn in tapes for feedback.

 

James Wagner is a Los Angeles-based actor who has taught acting workshops in the Bay Area for over 10 years. As a teacher, he explores cutting-edge acting techniques—believing that we live in an evolving universe and that acting must have its own evolutionary trajectory. He uses integrative techniques that connect body, mind, emotion, and spirit to the various aspects of spatial and interpersonal relationships on stage. James also believes the creative process can be more than just a craft and a profession, but also a sacred process and a transformative practice. He is an MFA graduate of American Conservatory Theater and has a PhD in Transformative Studies from California Institute of Integral Studies.

 

Register

WED 7–9pm · 7/7, 7/14, 7/21, 7/28, 8/4, 8/11 · $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 · 7/12, 7/19, 7/26, 8/2, 8/9, 8/16 · $350

 

In this voice-over class, students will study and practice multiple styles of voice acting, be introduced to more advanced techniques, and deepen their choices and confidence on the microphone. In addition, students will learn about recording equipment and how to set up a home studio.

 

Prerequisite: Beginning Voice-Over Acting class.

 

Sally Clawson is the owner of Voice One Training, the premiere voice acting school in San Francisco, and has over 20 years of experience as a voice actor, teacher, and performer. Her many voice over clients include Yoplait, Clorox, Toyota, Old Navy, McDonalds, Pixar, Apple, Google, Microsoft, EA Games, Telltale Games, and Lucas Arts, among others. Sally began developing the voice over curriculum at the Berkeley Rep School of Theatre in 2010, and is thrilled to be teaching for her ninth consecutive year at the school. She has also taught at Cal Shakes, Google Arts, and is a certified executive coach with the UC Berkeley Haas School of Business. In addition, Sally has a master’s degree in Performance from Mills College.

 

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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WED 7–9pm · 7/7, 7/14, 7/21, 7/28, 8/4, 8/11 · $200

 

Fundamentally, an actor’s job is to read a script, understand the story and what the author is asking of you, and then to do it. Simple and straightforward. But a clear grasp of how to accurately analyze a script—for film, theatre, or television—is crucial to an actor’s ability in making those relevant choices. However, each actor is different and this class will help you to develop an individual and reliable method for understanding theme, plot, character, and situation in order to help you make those choices.

 

We will be working on Oscar Wilde’s The Importance of Being Earnest. We recommend you read the play before the start of 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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TUE 7–9pm · 7/6, 7/13, 7/20, 7/27, 8/3, 8/10 · $200

 

Discover the transformational powers of Shakespeare by embodying the heroes and sheroes you most admire. Using monologues from Shakespeare, you will explore the characters whose qualities you wish to emulate through dramaturgy, breath work, physical embodiment, and deep imaginative work regarding your chosen characters’ inner monologues and your personal power. Walk in Hermione’s shoes as you tackle questions of ethics and self-defense. Prepare for a fractious meeting using the motivating clarion call of Portia’s brilliant monologue. Learn how to walk like your character, talk like your character, and walk in their shoes. This is a class for those who aspire to take the next step in leadership, practice personal power, and inspire yourself and others.

 

Kate Cherry is an internationally acclaimed artistic director and director of theatre and opera. As artistic director of both Australia’s Black Swan State Theatre Company and NIDA, and associate director at Melbourne Theatre Company, Kate has directed over 50 professional productions for various notable performance institutions, including Seattle Opera, New Zealand Opera, Melbourne Theatre Company, Sydney’s Belvoir Street Theatre, and many other theatre and opera companies throughout Australia. She has commissioned over 30 new works, and created labs to explore new ways of creating work. Kate has an MFA from UCLA where she assisted Oskar Eustis and Tony Taccone and studied with Martha Clarke and Peter Sellars. She is a Drama League Alumnae and has received numerous awards for her directing. She has listened to over 1000 pitches, and advocated for work like The Sapphires, by Tony Briggs, ensuring the story skyrocketed from a conversation in a Melbourne pub to an acclaimed Hollywood movie. Kate has directed numerous screen and theatre luminaries, including multi-award winners Ben Mendelssohn (Emmy Award), Guy Pearce (Golden Globes and SAG Award), and Greta Scaachi (Emmy Award). She has also produced work by Judy Davis (BAFTAs, Golden Globes, Emmys) as a director, and studied with Oskar Eustis (artistic director of New York’s Public Theater, dramaturg of Angels in America, and producer of Hamilton).

 

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SAT 1–5pm · 7/31 · $80

 

“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 · 8/14 · $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.

 

Register

MON 7–9pm · 7/12, 7/19, 7/26, 8/2, 8/9, 8/16 · $200

 

Improv will bring play and laughter into your life during these times of uncertainty! Play helps us stay connected and laughter is the shortest distance between two people! 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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WED 7–9:30pm · 6/23, 6/30, 7/7, 7/14, 7/21, 7/28, 8/4, 8/11, 8/18 · $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. The class will have eight participants.

 

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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SAT 10am–1pm · 7/10, 7/17, 7/24, 7/31, 8/7, 8/14 · $275

 

If you have “the idea” that you believe will make the next great film or TV series, it’s time to learn the ins and outs of screenwriting! Spend six weeks learning structure, dialogue, form, and how to make your characters believable and leap off the page. As an amazing bonus, the skills you learn in this class are applicable to other media as well: TV, VR, games, short form content, theatre, immersive entertainments.

 

Christopher Morrison has written and produced projects in the fields of feature films, short films, VR 360 filmmaking, video games, and theatre magazine writing. His work has been screened/experienced on three continents and has active projects in Paris, Los Angeles, Belgium, and Australia. He is a member of the WGA West Videogame Writers Caucus.

 

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WED noon–2pm · 6/23, 6/30, 7/7, 7/14, 7/21, 7/28, 8/4, 8/11, 8/18 · $275

 

Ever wanted to write a play? Got a little time on your hands? Push that dream forward a little bit in a nine-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? I can 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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THU 7–9pm · 7/8, 7/15, 7/22, 7/29, 8/5, 8/12 · $200

 

Learn physical triggers that will help you quickly find the placement, melody, and general sound changes for the Estuary dialects of London 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 London 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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MON 7–9pm · 7/12, 7/19, 7/26, 8/2, 8/9, 8/16 · $200

 

We will investigate how to approach better clarity in voice and speech when your voice is your primary tool, how to combat “Zoom fatigue,” how to stay grounded and feel your voice when talking to a screen, and how to maintain connection and eye contact even digitally. This class will enable students to gradually and safely build vocal strength while amplifying their vocal presence and intentions to have the clearest impact on their listener. Through a series of exercises designed to eliminate the blocks that inhibit vocal freedom, students will develop strength and creative vocal range. Classes will begin with extensive warm-ups, which will be incorporated into relevant texts specifically chosen to best embody and express the true unique vocal life of each student. Students will be given the opportunity to apply techniques learned to a piece of their choice.

 

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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THU 7–9pm · 7/8, 7/15, 7/22, 7/29, 8/5, 8/12 · $200

 

This course picks up where Voice I left off, continuing the project of unfurling the effortlessly full and dynamic voice that is your unique birthright. We will deepen the regular practice of craftwork in order to release tension in the physical instrument, expand breath capacity, and increase vocal dynamic range. Using both personal texts and those chosen by the instructor, we will focus on clarifying intention, reaching an audience, and cultivating the ability to truly be heard in your truth. We will also venture into the territory of speech and articulation to explore greater connection between sound and sense for even further powerful and effective communication.

 

Prerequisite: Voice for Performance I or permission from instructor.

 

Miriam Ani is an actor, director, and educator deeply committed to unfolding the artistry of the human body, voice, and spirit through the theatrical medium. Since relocating to the Bay Area, Miriam has appeared in the Lorraine Hansberry Theatre’s West Coast premiere of The Urban Retreat, San Francisco Shakespeare Festival’s The Comedy of Errors: Shakespeare on Tour, understudied for California Shakespeare Theater (Queen Margaret, War of the Roses), and appeared as the title role in The Heiress at Lucie Stern Theatre, Irina in Three Sisters at Douglas Morrisson Theatre, Sébastienne in Livermore Shakes’ Tempest, Lady Macbeth for Half Moon Bay Shakes, and as Karen in August: Osage County (Novato Theater Company), among others. Miriam directed The Crucible for Pacifica Spindrift Players (2018) and The Hallelujah Girls for North Bay Stage Company (2016). Miriam also teaches acting for Cal State East Bay, Sacramento State, Marin Shakespeare Company, and San Francisco Shakespeare Festival, and is a proud KCACTF respondent, TBA adjudicator, and member of AEA. MFA, Acting, CUNY Brooklyn College.

 

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THU noon–1:30pm · 7/8, 7/15, 7/22, 7/29, 8/5, 8/12 · $150

 

Tap classes are great for spirit, mind, and body, a terrific way to get in tiptop shape, and enjoy yourself. Learn how to tap in the tradition of the old masters and break ground with some of the new contemporary styles. Ear training, weight transfer, balance, stamina, style, and a chance to experiment with choreography are just a few benefits of the tap class. Whether you are a professional dancer or just starting out, come study with a world-renowned tapper who has danced with Gregory Hines, Savion Glover, Nicholas Brothers, and Michelle Dorrance! Open to all levels.

 

Joe Orrach is an actor, choreographer, dancer, and story-teller in live theatre and film. Joe started as a boxer, Welterweight Champion of the US Air Force, before turning his athleticism to dance, especially tap. Joe has performed with the Smothers Brothers, Lilianne Montevecchi, Melissa Manchester, Michael Davis, Bill Irwin, Joan Baez, and others; tap-danced with Gregory Hines, Savion Glover, Nicholas Brothers, and Michelle Dorrance; and has been directed by Woody Allen, James Mangold, Tim Boxell, Jeremiah Chechik, Stefan Haves, and David Shiner. During 2013–18, Joe conceived, directed, choreographed, and performed his original works 147, In My Corner, The Boxer, Roughing It Up, and STReeT/FeaT in US and European theatres. Joe choreographed and was guest artist and boxing consultant in Terrence Blanchard’s opera Champion at SFJazz and reprised his featured role in 2017 at the Kennedy Center in DC. He recently choreographed The Royale at Aurora Theatre, Berkeley. Joe has an MFA from USC’s School of Dramatic Arts. When not on stage, Joe can be found in the classroom, community center, or boxing gym. Through Joe Orrach Performance Project, he reaches hundreds of students with programs that help them tell their own stories through rhythm, movement, and voice. He is the recipient of Dance Studio Life’s Generous Heart Award for his teaching.

 

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THU 7–9pm · 7/8, 7/15, 7/22, 7/29, 8/5, 8/12 · $200

 

Remember your body? Tap into your creativity and invigorate your imagination! Connect with yourself and others online from anywhere in the world. 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.

 

To get the most out of this online class, please prepare a comfortable space to move in with access to your online device.

 

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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MON noon–1:30pm · 7/12, 7/19, 7/26, 8/2, 8/9, 8/16 · $150

 

Using the energetics of yogic alignment rooted in the Chakra System, we will explore both the inner space of the body and the actor’s body in space. Through the development of a physical practice, we will examine the meeting point of the physical and energetic body and consider the messages the body subtly transmits. We will address the relationship of actor to self and to world and, through their very precise physical location, explore questions such as groundedness, personal power, emotional accessibility, and self-expression. Finally, we will consider the seven energy centers as a practice of character creation and apply these physical embodiment techniques to a “stretch piece” of the student’s choosing. Ultimately the state of yoga is an ideal creative state from which to act, where we can find balance and full availability as a performer, ready to both transmit and receive.

 

Miriam Ani is an actor, director, and educator deeply committed to unfolding the artistry of the human body, voice, and spirit through the theatrical medium. Since relocating to the Bay Area, Miriam has appeared in the Lorraine Hansberry Theatre’s West Coast premiere of The Urban Retreat, San Francisco Shakespeare Festival’s The Comedy of Errors: Shakespeare on Tour, understudied for California Shakespeare Theater (Queen Margaret, War of the Roses), and appeared as the title role in The Heiress at Lucie Stern Theatre, Irina in Three Sisters at Douglas Morrisson Theatre, Sébastienne in Livermore Shakes’ Tempest, Lady Macbeth for Half Moon Bay Shakes, and as Karen in August: Osage County (Novato Theater Company), among others. Miriam directed The Crucible for Pacifica Spindrift Players (2018) and The Hallelujah Girls for North Bay Stage Company (2016). Miriam also teaches acting for Cal State East Bay, Sacramento State, Marin Shakespeare Company, and San Francisco Shakespeare Festival, and is a proud KCACTF respondent, TBA adjudicator, and member of AEA. MFA, Acting, CUNY Brooklyn College.

 

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SAT 1–3pm · 7/17 · $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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Special offer

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

 

School of Theatre major sponsors

Jonathan Logan Family FoundationWells Fargo

Gisele & Kenneth F. Miller

The Woodlawn Foundation

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