Theme Project Work : Legend has it that it's all a Myth

Theatre and drama have a long standing interest in Legend and have been inspired and intrigued by Mythology. A myth can be defined as “a traditional, typically ancient story dealing with supernatural beings, ancestors, or heroes that serves as a fundamental type in the worldview of a people, as by explaining aspects of the natural world or delineating the psychology, customs, or ideals of society”. In the four THEME course options each tutor will look at various aspects of theatre’s connection with mythology, from the supernatural and religious mythology of Greece and Rome; via the ritual and magic of Folklore; to modern re workings of traditional stories (legends) and characters; even to contemporary urban myths (the 'American dream' for example).

THEME PROJECTS

Graeme Du Fresne : Singing and acting – Myth and Melody

We will be acting through song using a wide range of material drawn from various genres including Thespis by Gilbert & Sullivan, The Threepenny Opera by Brecht and Weill (with the ‘Deus Ex Machina’ ending). Our musicals will include The Frogs by Stephen Sondheim (…it would be rude not to include him this year as he celebrated his 80th birthday in March) and Assassins which deals with the modern myth of ‘The American Dream’

Janice Dunn : Writing – Processes of Playwriting

We will be looking at a wide variety of texts chosen from the following list of plays: Equus and Royal Hunt of the Sun by Shaffer. The Gaolers Ache, The Europeans, The Possibilities by Howard Barker. Mother Courage, Good Person by Brecht, Various shorts by Beckett, The Grain Store by Natalia Vorozhbit trans. by Sasha Dugdale. Possibly also visiting Chekov, Bulgakov, Genet, Ted Harrison (Mysteries), Frank McGuiness (Pheadra) and Dario Fo. Some of this material pertains to myths whilst others contain mythical characters or situations. The course will offer an interesting and stimulating opportunity for exploration and creativity springing from our response to these works, allowing us to look at text, character, content and style with a view to developing our own writing. For example, we may want to tackle our version of Pheadra having analysed McGuiness’s version

Lawrence Evans : Acting – Chorus & Character

Mythology in theatre is of course almost invariably linked to the drama of the Ancient Greeks. A fundamental and integral element of Greek theatre is the Chorus. The function of a Greek chorus is to bare witness to the unfolding drama on stage but without being able to change or influence the direction of the action. In our theme course we shall be looking at how to create, develop and inhabit the role of a ‘Greek chorus’ using physical, vocal and choric skills. Looking at the work of such authors as Aeschylus, Euripides, Sophocles together with modern playwrights such as Tony Harrison and Arthur Miller we shall examine in practical terms the function, choreography, and gestural voice of the dramatic choric tradition.

Peta Lily : Acting/Devising – Myth and Metamorphosis

Metamorphosis – changing from one state to another, magical transformation.
It’s the performer’s job to transform. Transform themselves into human characters, mountains, wondrous beasts…whatever the play requires or your improvisation dreams up. Transform the performing space to magical lands, other realities, different time zones. Why? So that you can transport your audiences, heighten their emotions and give their imaginations flight. In this course we will look at monster, mythic beast, mythic space, gods, humans and superhumans using all kinds of techniques: movement and devising methods, acting, character and vocal. We will work with wonderful texts such as Ted Hughes Tales from Ovid (vivid story telling) and Carol Ann Duffy’s The World’s Wife (funny and chilling re-takes on the myths as we know them). We will also deepen the actor and theatre maker’s access to the imagination by exploring the ‘Personal Myth’ techniques of Arnold Mindell.

SKILLS PROJECTS

Graeme du Fresne : Singing and acting – Sing for England

This course will be looking exclusively at English vocal music, ranging from the delights of Gilbert & Sullivan to Folk Songs and English Art Songs (Vaughan Williams, Roger Quilter etc) .This is an opportunity to explore the ‘topsy turvy’ world of G & S, exploring the satire and comedy with specificity and seriousness rather than the superficial ‘sending up’ approach often associated with these comic operas. Additionally, we will be looking at story telling techniques in Folk song and discovering the poetic romanticism of the English Art Song.

Janice Dunn : Directing – Body of Work

In this option we will be looking at direction for physical theatre / movement / non-naturalism / fantasy, for movers and non-movers. This course will pursue a practical study of a variety of techniques for a range of physical work. No experience of this needed. You don't have to be physically trained to do it.

Lawrence Evans : Acting – Playing the Restoration Style

In 1660, Charles II was restored to the English throne heralding the ‘glorious revolution’ and ushering in a new era of Theatre. In this skills course we shall look at how actors in the Restoration period developed a new form of acting demanded of them by the emerging new playwrights, who were the social, political, and cultural commentators of the day. Together with the theatrical influences they took from the Jacobean and Caroline periods we shall examine how the new acting ‘style’ allowed the actor to receive, respond, and recover in terms of the psycho-emotional physical impulse using the complex texts of such authors as Sheridan, Wycherley, and Goldsmith, as well as modern interpreters of the Restoration play such as Bond and April De Angelis.

Peta Lily : Clowning (Performance) – How To Become 'Uniquely Stupid'

An introduction to the magical and hilarious world of the Clown. Be prepared to laugh a lot! The Clown is a wonderful way to access greater confidence in your ability to entertain, improvise and be spontaneous. Also – although different to acting – Clown work will make you a better actor! Even if your aim is to play Hamlet or Medea, Clown-work is a valuable field to explore – it helps you be in the moment, keep performances fresh, learn how to transport your audience and be more truthful onstage.
Find your own ‘unique stupidity’. Learn the liberating rules of play: suspension, élan and fixed-point. Discover what triggers and sustains laughter. Discover how to work with your audience! Find out how to use the magic Rule of Three. This approach to clowning opens your awareness and flexibility as a performer and gives you added confidence in improvising from scratch.