Upper School Theater

Everyone possesses a unique voice innately capable of expressing the full range of human emotions. Those impulses often get stifled, however, as individuals grow through stages of development and conform to the world around them. For actors, emotions sometimes get trapped in their throats or stuck in their heads. This course aims to restore the natural connection to instinctive, creative impulses. First, the tools of the Linklater voice progression, a series of exercises that lead to a complete vocal and physical practice for actors, are introduced. In-class exercises focus on breath, resonators, articulators, alignment, kinesthetic awareness, and more to explore personal expression and imaginative performance. Habitual voice and body patterns that limit expressive potential are undone, freeing one’s instrument to be open and responsive. Students progress to linking this training directly to text work and, consequently, intention and emotion through the lens of a character. The course sets the stage for the myriad ways one’s instrument can be used to make meaning and is appropriate for students of all levels.

Students develop and deepen their approach to the art of acting while simultaneously gaining exposure to several notable acting techniques and viable pathways to character development through an exploration of characters and scenes from contemporary plays. All classwork springs from the Atlantic Acting School’s concept of “practical aesthetics,” which stresses the universal necessity of objective-driven action across a diverse range of dramatic literature and acting styles. The acting process is demystified by giving each actor a set of analytical and physical tools with which to work, starting with the ability to use one’s experiences and imagination to transform “self” into character. The course highlights the actor’s ability to be present in a believable way within any circumstance as well as conditions the actor’s willingness and resilience to transform the concept of “self” beyond pre-established boundaries.

This course provides a practical introduction to four unique styles of performance: acting for the camera, Shakespeare, verbatim theatre, and improvisation. Students build on training from the previous two courses as they adopt the appropriate physical tools, vocal dynamics, and imaginative play required for each genre and its conventions. Students broaden their expressive capabilities and agility with different acting styles while continuing to develop their own philosophies and approaches to performance.

This course provides in-depth exploration of theatrical forms and performance practices. It focuses on acting training, but also includes directing and dramaturgy; devising and writing original theater pieces; exploring traditional and experimental forms, as well as theatrical theory; and examining works of writers formerly underrepresented in the American theater canon. Students operate as an acting company, with emphasis placed on collaboration and ensemble dynamics. Their work is presented in end-of-semester showcases.

At the end of Tony Kushner’s epic play, Angels in America, the character Prior Walter addresses the audience directly and urges them to action with “The Great Work begins.” While Prior’s message reflects on the AIDS crisis in the 1980s, his pronouncement has since become a rallying cry for American playwrights. Students in this course dig into important theatrical pieces from the last few decades that are doing “the work” in Prior’s appeal. As they study and honor the diverse voices making an impact on the current climate, students are encouraged to find their own voices as playwrights through a series of writing workshops and projects. This course explores a wide range of contemporary American theater-makers (e.g., Ayad Akhtar, Annie Baker, David Henry Hwang, Dominique Morisseau, Suzan-Lori Parks), is appropriate for both experienced and novice theater artists, and is recommended for students participating in the school’s annual playwrights festival.

This course explores the foundations of American musical theater history and performance, paying special attention to the act of storytelling through song and dance. Moving between personalization and characterization, students focus on solo work from various decades and styles of musicals, approaching the material as actors first. With this method, singers of all levels can comfortably and effectively participate in classwork and gain valuable tools to advance their skills. Theater dance technique and choreography are also taught through this lens, placing character objective and action at the forefront. Throughout the semester, students connect the work to the artistic landscape in which musical theater was born and look at how the industry continues to evolve today. The class culminates in an ensemble performance of a fully staged musical number and is a great vehicle for expanding students’ repertoire and audition readiness.

This course continues the lessons taught in Middle School Stagecraft I and II and adds a history of practices and practitioners from Greek theatre to the modern stage. It focuses on the disciplines of scenery, lighting, sound, and stage management. Aesthetics, the design process, and implementation of designs are emphasized. Students master high-end lighting and sound equipment and gain a basic understanding of hand tools and scenic construction practices. The final assessment is based on a project each student chooses from the disciplines offered. Students enrolled in this class serve in an array of roles during rehearsals, technical rehearsals, and live productions. Those not working directly on a project are expected to view the production and contribute to classroom discussions. All students participate in a group strike of scenery, lights, and costumes the day after a production closes.

This advanced course is for students who wish to design their own learning paths in one or two of the following stagecraft disciplines: stage management, stage design, carpentry, lighting, sound, or theatrical history. Students work on mainstage performances and unrealized projects while acting as Stagecraft I mentors.

This course introduces fundamental principles and practices of costume design. In the first quarter, students focus on how costume enhances overall production design by conveying aspects of character, story, and mood. In the second quarter, students use creative brainstorming, script analysis, and research to design costumes for an unrealized production. Though students sketch their ideas, figure drawing skills are not a prerequisite. Class discussion, participation, and constructive peer critique are essential.

This hands-on, mixed-level class is for students who want to learn how to sew. Students with no prior experience start with the basics and then move on to skills needed for garment assembly. Repeat students undertake projects that develop confidence in working independently. Everyone completes between two and four wearable items each semester. The importance of sustainability in fashion is also discussed.