Scholarly Works, School of Performing Arts

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https://hdl.handle.net/10919/111110

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Browsing Scholarly Works, School of Performing Arts by Subject "acting"

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    Empowering Actors Through Viewpoints
    Rosin, Jordan (2019-08-10)
    Whereas many directors who happen to teach devising or movement may be misrepresenting and/or underestimating the full and cross-­genre potential of systems like Anne Bogart & Tina Landau’s Viewpoints, thereby unconsciously passing on their own aesthetic preferences to their students and perpetuating a narrow view of the system as innately “avant-garde” or experimental, I will aim to articulate a philosophy of Viewpoints training and education which empowers, rather than manipulates actors, preparing them for devising and performance across a variety of styles, ranging from Clown and Commedia to Realism and the avant-­garde. In this 20 minute lecture/demonstration, I aim to expand the audience’s conception of the Viewpoints as a method of actor training (across styles and genres) through a pointed critique of many of the misconceptions and misapplications of the methodology.
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    Exploring the Intersection of Clown & Melodrama Through Visions of A Crying Girl
    Rosin, Jordan (2019-08-09)
    For my MFA thesis at Dell’Arte International, my partner, Cleo DeOrio, and I have set to explore the boundaries and intersections of two distinct stylistic territories: Clown and Melodrama. Through devising an original play entitled Visions of A Crying Girl, we are exploring such questions as “How do we maintain the indelible nature of the Theatrical Clown while telling a Melodramatic story?” Through a process further informed by Viewpoints & Composition, as well as our respective movement specialties in Modern and Butoh Dance, we - over a period of 8 weeks - are currently creating this original performative work, which will premiere at the Dell’Arte MFA thesis festival running May 16 - 26, 2019. As of May 3 - week 7 of our 8 week creative process - we have already discovered extensive overlap between the styles in question and are using the deeply three-dimensional characters and relationships of Melodrama to create circumstances for the clown to be unruly or push back against oppression. In a darker world and with more serious subject matter than your average clown play, we are also discovering a poetic dimension to the theatrical clown, which retains its innate buoyancy, delight, and fondness for the audience, without necessarily being funny. Further findings and deeper conclusions will of course be drawn after the public presentation of the work in May.