2-DAY WORKSHOP

ACTING SHAKESPEARE'S LATER PLAYS

Saturday & Sunday, October 21-22
 12:00 PM - 6:00 PM

 

Instructors: RON DANIELS, SUSAN FINCH,  LAILA ROBINS and MIRIAM SILVERMAN 

 

Coriolanus, Measure for Measure, The Tempest, the list goes on—Shakespeare’s late period, corresponding with the reign of King James VI, produced some of the most complex dramatic plays in the history of the English Language. At the height of his powers, Shakespeare transforms and manipulates Blank Verse in ways never before attempted. Come try your hand at monologues from these dramatic masterpieces with the best verse speakers and directors New York City has to offer including Ron Daniels, Susan Finch, Laila Robins and Miriam Silverman. These master instructors and top working professionals will take you from voice and text work to on-your-feet scene study and help you discover how to make Shakespeare’s Jacobean verse soar!  For actors of all ages and experience -- Whether you’re interested in taking the next step in your Classical Theater Training, or simply learning from some masters, this is a class you shouldn’t miss.

 

This workshop is for actors of all ages and experience.

 

Essential Question:

How do actors utilize the clues Shakespeare has left us in his verse to find the greatest depth and scope of character possible?

 

Course Objectives:

  • Increase the flexibility of your physical and vocal instrument

  • Develop a greater awareness of your body and voice

  • Explore exercises for delivering Shakespeare’s language with nuance and truth

  • Explore how Shakespeare utilizes verse, text, and rhetoric to create complex characters

  • Learn how to create the true life of your character and his surroundings in a monologue setting

 

Enduring Understandings:

Shakespeare’s verse is a tool to be used, one that Shakespeare himself honed over the course of his career. Like any tool, it requires training to use it effectively. A flexible, confident voice and body are essential for effective presentation of a character on the stage. A deep understanding of the evolution of Shakespeare’s use of verse, his use of rhythms and rhetoric, his experimentation with irregular verse is essential to delving the hidden depths of Shakespeare’s later plays.  

Schedule and Materials

INSTRUCTORS

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Ron Daniels: After fifteen years directing many productions for the Royal Shakespeare Company, where he was the Artistic Director of The Other Place Theatre, Ron was named Honorary Associate Director of the RSC and a former Associate Artistic Director of the American Repertory Theatre in Cambridge, Massachusetts, where he directed that company’s productions of Henry IV parts 1 and 2, Henry V, Hamlet and The Seagull (both with Mark Rylance), The Tempest, The Cherry Orchard, while in New York he directed Richard II, Richard III and Macbeth for the Theatre for a New Audience. He also directed Much Ado about Nothing and The Taming of the Shrew at the Old Globe in San Diego and most recently, Othello at the Shakespeare Theatre in Washington, DC.

Susan Finch has been teaching voice and speech for over twenty-five years. She currently teaches at The Juilliard School, where she is an alumna of their Drama Division. She also teaches at NYU’s Atlantic Theater Acting School, where, as Head of the Speech Department for twenty-three years, she created their undergraduate speech-training curriculum. Recent coaching includes The Public Theater's Richard III Mobile Unit and Shakespeare On The Sound's Much Ado About Nothing.

Laila Robins is one of Americas foremost Classical actors Laila has appeared on Broadway in HEARTBREAK HOUSE, FROZEN, THE HERBAL BED and THE REAL THING as well as in numerous off Broadway productions including A MIDSUMMER NIGHT'S DREAM in Central Park, Albee's THE LADY FROM DUBUQUE (Signature Theatre), ANTONY AND CLEOPATRA (TFANA), and THE APPLE FAMILY PLAYS (The Public). Television credits include DECEPTION, QUANTICO, Season 4 of HOMELAND, MURDER IN THE FIRST, IN TREATMENT, EYE IN THE SKY, and THE GOOD SHEPHERD. She has received an Emmy nomination for best ensemble, several Lortell nominations, an OCC nomination, Drama Desk and OBIE awards, a HELEN HAYES nomination, a Cincinnati Acclaim Award, and a Richard Seff award from AEA.

Miriam Silverman currently teaches Acting, Voice & Speech and Text Analysis at Marymount Manhattan College, in the Graduate Acting Program at New York University, as well as the Tom Todoroff Conservatory.  She has served on the faculty at Brooklyn College, HB Studio, NYCDA, PPAS, University of Iowa and teaches Master Classes for NYC’s Red Bull Theater.   Miriam is currently performing in Ayad Akhtar’s play Junk on Broadway. She has performed Off-Broadway at NYC’s Public Theater, Ensemble Studio Theater, Red Bull Theater, Rattlestick Playwrights Theater, The Playwrights Realm, page73, Ripe Time, and many theaters across the US including The Goodman, Yale Repertory Theatre, The Guthrie, Arena Stage, Berkshire Theatre Festival, The Folger, Trinity Repertory Company and in numerous productions at the Shakespeare Theatre in Washington DC where Miriam is an Affiliated Artist. She has been nominated for the Drama Desk, Helen Hayes, Connecticut Critic’s Circle and Joseph Jefferson Awards for her performances. Miriam holds an MFA in Acting and a BA in East Asian Studies from Brown University. She received a 2011 TCG Fox Fellowship to further explore the relationship between voice and verse. During her Fellowship, Miriam worked with the Roy Hart Theater in France, Tim Carroll and the Factory in London, Patsy Rodenburg and Catherine Fitzmaurice, among others.  Miriam is a member of The Actor’s Center Workshop Company.

 

Schedule:

 

Saturday

12:00 - 2:00: Voice work with Susan Finch

2:00 - 3:00: Meal Break

3:00 - 6:00: Monologue work with Laila Robins

 

Sunday

10:00 - 12:00: Open rehearsal space

12:00 - 2:00: Text and Verse Games with Miriam Silverman

2:00 - 3:00: Meal Break

3:00 - 6:00: monologue work with Ron Daniels

 
Preparation:

A verse monologue from one of Shakespeare’s later plays. Memorization is encouraged but not required

 

Materials:

A hard copy of your monologue. A journal is recommended to record notes and observations. Comfortable clothing that you can move and breathe freely in and a water bottle is strongly encouraged.

 

Contact Nathan Winkelstein with any questions.

 

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