acting for film and theatre - vadarts brochure

VICTORIA ACADEMY OF DRAMATIC ARTS

DIPLOMA PROGRAM: ACTING FOR FILM AND THEATRE

WELCOME TO THE




618 YATES STREET, VICTORIA BC V8W 1K9TEL. 250.580.2588

EMAIL: [email protected]

1 of 28 TEL. 250.580.2588 / EMAIL: [email protected] / WEB: WWW.VADARTS.COM



TABLE OF CONTENTS

PROGRAM OVERVIEW............................................................ 3CAREER TRAINING 4GRADUATION REQUIREMENTS................................................. 5COURSES 6DEPARTMENTS AND COURSES OVERVIEWS................................. 7FACULTY 10GUEST INSTRUCTORS............................................................. 14ADMISSION REQUIREMENTS 16HOW DO I APPLY?................................................................ 17FAQ 18WHERE WILL I STUDY?........................................................... 19QUESTIONS? 20

APPENDIX

DAY BY DAY COURSE CALENDAR............................................ 21




Program Overview

MISSION STATEMENTVictoria Academy of Dramatic Arts is dedicated to the training of actors whose goal it is to work in film and theatre.

PROGRAM DESCRIPTIONAn extremely rigorous 8 month foundational training to prepare students to work proficiently in film and theatre.

ACADEMY LEARNING OBJECTIVES Students will gain a strong foundation in naturalistic acting techniques that will prepare them to work proficiently in film and theatre.

PROGRAM LENGTHOur diploma program starts in October 2013 and goes to the end of May 2014. Please see pages 16 – 17: admission requirements and how to apply.




CAREER TRAINING

CAREER PREPIn addition to training you to work as an actor we guarantee you will, upon graduating, leave with the following:

Headshots Resume Audition reel Career plan

CAREER OPPORTUNITIES

Upon successful completion of the program you will be qualified to work as an actor in the following areas :

Professional theatre

Feature film

Independent film

Television

Industrials




GRADUATION REQUIREMENTS In order to graduate from the Academy you must:

1. Complete all courses as outlined in this document. 2. You must achieve a GPA of 60% (a grade of C) or higher.

WHEN DO I GRADUATE? Your graduation date is June 1 2014.




COURSES

There are eleven mandatory courses in the program. We will supplement your learning with guest instructors and tutorials. There are performance projects at the end of the 1st and 3rd terms.

COURSE CODE NAME OF COURSE # OF HOURSACT CAM Acting for Camera 30INS Actor's Instrumental 150AUD TECH Audition Technique and the Business of Acting 24IMP Improvisation 20MEIS Meisner Approach 24MOV Movement 32MOV PSY Movement Psychology 68SC STSHAK

Scene Study (inc. 125 hrs of Performance Projects)Shakespeare

20924

STA COM Stage Combat 16VOI Voice 100

COURSE TOTAL: 697

GUEST Guests Instructors 30

COURSE + GUEST TOTAL: 727

PRI ST - TUT Private Study and Tutorial 82SC SH Scene Showing 21

COURSE + GUEST + OTHER TOTAL: 830




DEPARTMENTS AND COURSES OVERVIEWS

Our classes in our program are below. Note that we have some small turnover year to year and cannot guarantee a certain number of hours with a particular instructor due to unanticipated events or scheduling conflicts. What we do promise is that your curriculum will be as described in this document and only small program changes are allowed.

DEPARTMENT: ACTINGLead Instructor: Joe McCoyInstructors: Jacqui Kaese, Jason Stevens, Joanne Wilson, Christopher Mackie and Matthew Payne

Course: Acting for Camera Description: the camera and you. Acting for Camera is Scene Study photographed. You will be assigned scenes each class to be shot and viewed in the next, bringing to bear everything you have learned in all classes up to this point. As in Scene Study, you will be directed in class and work on your scenes between classes. In addition, you will learn the terminology of film acting, such as playing to camera, hitting your mark, stepping into frame, etc. You will become fluent in these terms and confident in front of camera, having completed 8 scenes drawn from scripts specific to film and television.

Course: The Actor's InstrumentalDescription: accessing your tools and the art of preparation. You'll learn how to connect with yourself and act in a “being state”. “Being” means open and available – a place from which you can freely connect to your feelings and impulses and live “moment to moment” in your work - a liberation of your instrument. This type of work is and must be the cornerstone of honest and truthful acting. When you learn to liberate your instruments, you are then free to fulfill the creative and emotional requirements of character. These skills will be directly applicable and ultimately utilized in scene work, as well as every other performance aspect offered by the Academy.

Course: Audition Technique and Business of Acting Description: an art in itself. Cold reads, auditioning for film and TV; career management, creating your career plan, audition reels, resumes and headshots. Starting with script breakdown, as film scripts have a language of their own, you will proceed to auditioning etiquette, slating, call-backs and the psychology of auditioning. You will practice in a simulated auditioning setting, designed to give




you an experience as close to the real thing as possible. Preparing your resume, dealing with agents, unions, casting directors, getting the call, preparing to work, what to expect, even being cast - so that when you actually audition out in the world you will be very familiar with the process and know how to handle yourself.

Course: Improvisation Description: exploring authentic behaviour without pages. Improvisational skills enrich an your work by inciting you to live truthfully and spontaneously under imaginary circumstances, as you are required to do in scripted work. Topics covered:location, accepting given circumstances, making offers, advancing the story, making strong choices, change and be changed.

Course: Meisner Approach Description: the art of living moment to moment. In the Meisner Approach you work on a series of progressively complex improvisational exercises. You will develop an ability to improvise, to access your emotional life, and to bring the spontaneity and richness of your personal response to your work. The technique emphasizes authentic response through communication with other actors in order to generate behaviour that is truthful and uniquely your own.

Course: Scene Study Description: the nuts and bolts of acting. Scene Study is the core reference point in your training. Fundamentals such as text analysis, choosing objectives and actions, moment before, character and story arcs are covered. At the end of first and last term your work will culminate with performance projects, larger scale scene work (plays) will be rehearsed and performed before an audience.

Course: ShakespeareDescription: Acting Shakespeare can be considered the "mixed martial arts" of the acting world, as it demands the actor to be fully engaged on all levels simultaneously, while operating in an extreme, high-stakes environment. You will study iambic pentameter, contrast, irony & ambiguity and skills too numerous to list here, in the very capable hands of our Shakespeare Masters. One need look no further than the work of Leonardo DeCaprio, Ralph Fiennes or Cate Blanchett to appreciate why one might include 'playing Shakespeare' in their skills set.

Course: Stage Combat Description: safe fighting technique for stage and camera. This course is an introduction to the science and art of combat for stage. You will be introduced to basic unarmed techniques used to create the illusion of combat. Emphasis is given to safety procedures; proper approach to the work; and warm-up and practice techniques.




DEPARTMENT: MOVEMENTLead Instructor: Jason StevensInstructor: Phoebe Rumsey

Course: Movement PsychologyDescription: impulse, feeling and physical expression; developing your physical/emotional expression, response and range.A unique synthesis of movement theory, Jungian psychology and acting, the class develops the pioneering work of Yat Malmgren. You will be asked to devise and perform scenarios based on both experience and observation, and thus recognize and control the forces that determine the expressive qualities of movement, gesture and speech. We investigate the basis of characterization and transformation, and how physical and psychological relationships reflect the impulses you experience on stage or screen.

Course: MovementDescription: body awareness, strength training and basic dance. You will learn basic body awareness, strength training movement dynamics and different ways of moving through the space in order to be combined with and enhance character study. You will also learn basic dance steps and sequences that are often called upon in a theatrical setting from basic jazz, ballet to partner dancing. Additionally, you will be given group movement studies based on class concepts to be presented to the class in the context of a scene.

DEPARTMENT: VOICELead Instructor: Adrienne Smook

Course: Voice Description: total voice training in the Kirsten Linklater/ Patsy Rodenburg traditions. This training is a key component of the actor's craft, integrating, supporting and influencing all other performing disciplines. Our voice training will be uniquely adapted to each individual. You will develop a practical, holistic approach to vocal development, wherein speaking and singing become complimentary elements that together serve to improve your range, clarity and resonance. As you apply what you learn to text, you will gain greater confidence and a deeper awareness of your vocal potential in your search for truth and authenticity. Study will be based on the teachings of Kristin Linklater, Patsy Rodenburg and David Smukler. Course components are comparable with other nationally recognized training programs, including The National Voice Intensive, Studio 58, and the National Theatre School.




FACULTYJOE MCCOY, ARTISTIC DIRECTOR / INSTRUCTOR

Joe McCoy, a graduate of the William B. Davis Centre for Actor's Study, is a gifted and eclectic teacher of the craft he has been honing for many years as an actor and as a director. Whether on faculty at Canadian College of Film & Acting, Victoria Motion Picture School, Kaleidoscope Performing Arts School, Screen Actors Studio, or Guest Instructor at Canadian College of Performing Arts, Joe is perhaps the most recognizable acting instructor in Victoria. He is known for his humour, insight, and absolute passion as an educator. Intuitive and knowledgeable, he works in a relaxed, and often hilarious style that allows students to feel safe and free from judgement.

"Sometimes people arrive here not respecting themselves, but that doesn't last long. (chuckles) I think in-depth training re-humanizes us. There are as many acting languages as there are actors. I find that developing a common language with each actor is key, but even before that, to establish the aesthetic of reverence for this work is vital. Then of course, we are irreverent with each other, which keeps people from getting too stuck on themselves. We are continually challenged to get out of our own way. I'm just a glorified doorman, really. I show them the door, but they walk through by themselves."

Credits include; Da Vinci's Inquest, The Dead Zone, The Keeper, In the Land of the Blind, and Lola. "Cascadia", co-directed by Joe McCoy and Jim Knox, was featured as a headliner at the Victoria Film Festival in February 2011.

JACUI KAESE

Jacqui Kaese has forged a foundation of opportunity for actors in a global industry.

With over 30 years experience in the entertainment industry both here and the UK, she has worked as an actress, agent, and manager and instructor. Her alumni students have worked with some of the biggest names in Hollywood, including Nicolas Cage, Nicole Kidman, Robert DeNiro and Jason Statham.

She is respected for discovering and mentoring many success stories to come out of Vancouver Island through her own school, Spotlight Academy in Nanaimo.

She brings a great eye, an astute business sense, and a no-nonsense yet caring approach to the work.




JOANNE WILSON

Joanne has appeared on stage at the Citadel Theatre, Chemainus Theatre Festival, Workshop West and Chinook Theatre, among others, in productions ranging from Shakespeare and Moliere, to new Canadian dramas and comedies. Her recent film and TV credits include the lead in the feature Cascadia, as well as roles in the features The New Girl (2012) and TRON Legacy, in the TV movie The Mermaid Chair with Kim Bassinger, and a recurring role in the groundbreaking series, The L Word among others (see IMDb.com). Joanne also worked as a TV reporter, a radio host for some of Canada’s top stations, and hosted several long-running nationally syndicated radio programs. Joanne is also a successful voice-over artist, having been heard on hundreds on radio and TV commercials, as well as documentaries, animation and more. Joanne has studied at the Banff Center of Fine Arts, the Actor’s Foundry, and at the Screen Actor’s Studio where she has been on faculty since 2009.

JASON STEVENS

Jason Stevens is a classically trained actor from the prestigious Drama Centre in London, where he studied under the legendary founders Yat Malmgren and Christopher Fettes. The work was primarily based on Stanislavski's "Method" combined with the Movement Psychology acting technique, which is rarely taught outside of the Drama Centre. Students include Colin Firth, Pearce Brosnan, Paul Bettany, and many others. The Drama Centre primarily trained actors for the National Theatre, Royal Shakespeare Company, British Repertory companies, and for the screen. Jason worked as an actor in London and New York for many years, and in Canada he has performed with various theatre companies in Victoria and Vancouver. His classes in Movement Psychology give actors in Canada a rare opportunity to experience a closely guarded and legendary acting technique that provides a strong basis for actors to succeed in the genre of their choice. 75% of his past students are now professionally represented.

PHOEBE RUMSEY Phoebe has nearly 20 years of industry experience and over 10 years of instructional experience. She has a BA Dance from Simon Fraser University and a MA in Theatre from the University of Nevada Las Vegas. Phoebe has performed and choreographed a number of theatre productions. Her has been on faculty at Kaleidoscope, the Canadian College of Performing Arts and is currently the General Manager and an instructor at the Boston Dance Collective.




ADRIENNE SMOOK

Adrienne has taught at the Citadel Theatre’s Foote Theatre School, The Free Will Player’s Camp Shakespeare in Edmonton, and at Storybook Theatre, Centre Stage Theatre and Quest Theatre in Calgary. Some of Adrienne’s stage credits include 39 Steps (Vertigo Theatre), Enchanted April (Theatre Calgary), The Penelopiad (Alberta Theatre Projects), and The Girl in the Goldfish Bowl (Sage Theatre). She holds a BFA in Acting from the University of Alberta and an MA in Voice Studies from Central School of Speech and Drama in London. She is voice and accent coach to theatres and individuals in Victoria and on faculty at the Canadian College of Performing Arts.

CHRISTOPHER MACKIE

Christopher has acted on stages across Canada, and trained in classical theatre in Japan. He has also trained in a variety of martial arts for over ten years, both at home and in Asia, and has instructed on both sides of the Pacific. He is the co-founder with Mario Cueto of the Angkan ng Kamao, a cultural society dedicated to the advancement of traditional Philippine martial arts. As an actor, he studied Shakespeare's folio texts under Neil Freeman, and has performed in Shakespearean plays with the Vancouver Playhouse, Phoenix Theatre, and Kaleidoscope Theatre. He has choreographed fights for the Victoria Shakespeare Society, ITSAZOO Theatre Productions, Kaleidoscope Theatre, and Blue Bridge Repertory Theatre. Previously, he taught Combat for Film at the Victoria Motion Picture School.




MATTHEW PAYNE

Matthew is a founding member of Victoria's Theatre SKAM and serves as the innovative company's Artistic Producer. He has played numerous roles in SKAM's 17-year history, including Louis (and sometimes Dave) in Louis and Dave, as well as Hamlet, Macbeth, and others in The Complete Works of William Shakespear (abridged). He recently directed Smalltown: A Pickup Musical and wrote and performed in Cariboo Buckaroo. Matthew graduated with a Bachelor of Fine Arts from the University of Victoria. In the summer of 2010, he completed a Director's Master Class with training from Peter Hinton, Martha Henry and Josette Bushnell-Mingo. In 2011 he studied with Jillian Keily at an intensive in choral work. Previous teaching experience includes classes for Kaleidoscope Performing Arts School, Kate Rubin Theatre and Drama Studio, and ArtsReach.




GUEST INSTRUCTORS

BARBARA POGGEMILLER Barbara has been working in Canadian Theatre for over 30 years as a teacher, director, actress and writer. She has worked in major centres across Canada including, Montreal; teaching and directing at the National Theatre School, Dawson College and Concordia University, Geordie Theatre Montreal, as a creator and director for Theatre for Young Audiences; Winnipeg, as Associate Artistic Director for Prairie Theatre Exchange; Regina, as an actress for the Globe Theatre; Calgary, acting for Theatre Calgary and Alberta Theatre Projects.

She has happily made her home in Victoria for many years now, teaching, directing and acting with Kaleidoscope Theatre, Belfry Theatre, Victoria Shakespeare Society, Victoria Arts Collaborative and the Mosaic Centre for children. She teaches acting, physical theatre, creative development and directs plays at the Canadian College of Performing Arts where she has been on faculty for 14 years.

Barbara has received a Dora Mavor Moore Award for Directing, a Monday Peoples Choice award for Directing, a Montreal English Critics Award for Adaptation and Direction, a nomination from Chalmers and Dora Mavor Moore for Direction and Adaptation, and two Canada Council Awards for the creation of new works.

RODERICK GLANVILLE

Roderick brings a career of 25 years performing for audiences across Canada and the U.S. His director credits for Kaleidoscope Theatre include the popular musical The Ant and the Grasshopper, The Boy who learned to Fly, Hair, and As You Like It. He has also directed for the Young Playwrights Festival for 12 years. Hana's Suitcase is his most recent directing project at the Metro Theatre. Favourite roles include Captain Hook in Peter Pan, Edgar in King Lear for Bard on the Beach, Billy Bishop Goes to War for Victoria Summer Theatre, Expo 86 with Mermaid Theatre of Nova Scotia, Theatre in the Schools for the Stephenville festival and Manitoba's Theatre for Young People. His one-man adaptation of Herman Melvilles Moby Dick has been performed all over Vancouver Island. He has created and performed with the Victoria Symphony with his adaptation of Peter and the Werewolf, and A Soldiers Tale. On stage recently: Goth in Kaleidoscopes Silverwing and Gandalf in The Hobbit at the McPherson Playhouse, and Banquo in Macbeth. Watch for Roderick soon in film festivals in his latest project Near Silence directed by Ana DeLara. As an instructor Roderick is reknown for his very enthusiastic and fun loving approach. He is currently Artistic Director of Kaleidoscope Theatre.




Admission Requirements

Age Applicants must be a minimum of 16 years old. If under 19, applicants must have the permission of a parent or legal guardian to participate in the program and be accompanied by a parent or legal guardian during the interview.

Application Applicants must complete the application including a brief essay as to why they wish to attend the Victoria Academy of Dramatic Arts and discuss how they will cover costs during their program.

Registration FeeApplicants must pay a non-refundable application fee of $250.

Auditions All applicants are required to audition and be interviewed by Victoria Academy faculty. Auditions via Skype may be permitted if it is not feasible for an in-person audition.

Literacy / Interview Applicants must demonstrate their proficiency in reading aloud during the interview.

Victoria Academy of Dramatic Arts Policies Prior to enrollment, all prospective students must read our policies brochure regarding student conduct, dismissals, disputes, refund policy, etc.




HOW DO I APPLY?

Registration for ourOctober 2013 to May 2014 program

is now open.

Application Deadline: May 31, 2013

*The Academy has a class size limit, so the earlier you apply for admission, the better chance you

have of being accepted. Note that you must enroll and pay your tuition deposit to secure your seat.

How do I get an application?Please download our application from our website WWW.VADARTS.COM

Where do I send my application? Send it with a digital or scanned signature and email it to [email protected]

Auditions/InterviewsAfter acceptance of your application, the school will contact you to schedule an audition and interview. Auditions via Skype may be permitted if it is not feasible for an in-person audition. If you need help choosing a monologue, call us at 250.580.2588.

Enrollment Upon acceptance, 50% of tuition is due to secure your seat in the program, with the remaining 50% within 4 weeks of signing the contract.

If you have questions, please contact us at: Tel. 250.580.2588 / Email: [email protected]




FAQQ1. Why should I pursue a full time acting program?A1. There is no substitute for technique, and it takes time to develop it. Many aspiring actors crash and burn early on in the dog-eat-dog world of film and TV without a solid foundational training.

Q2. Why study at Victoria Academy?A2. We offer an exceptional one year foundational training. Our faculty, with over 200 years of combined experience, is aligned in its approach to complete actor training.

Q3. When should I register?A3. The earlier you apply for admission, the better chance you have of being accepted into the program as there is a class size limit. *Note that you must enroll in the program after being admitted to secure your seat.

Q4. Why study in Victoria?A4. Gorgeous city with plenty to do, without the torrential rains of Vancouver or bitter cold / stifling heat of Toronto.

Q5. I don't have much acting experience. Should I still apply?A5. Yes. Although it is helpful to have experience, it is not necessary. What is necessary is a fierce commitment, and devotion to the craft of acting.

Q6. What is the most important advice you have for students who are going to audition for the school?A6. Want it. Be yourself.

Q7. How much does the full time program cost?A7. $10,000.

Q8. Can I apply for a student line of credit in order to attend?A8. Yes, you can apply for a student line of credit with our partner financial institutions. See our document “How to Finance your school year” with info. on lines of credit from $1,000 to $15,000.

If you have any questions, please contact us at [email protected] or call us at 250.580.2588. We look forward to working with you.




WHERE WILL I BE STUDYING?

- ABOUT VICTORIA

Victoria is the capital city of British Columbia, located on the southern tip of Vancouver Island off Canada's Pacific coast. A dynamic, friendly city teeming with arts, sports and cultural activities. There are two universities, several colleges, a thriving nightlife and a wonderfully diverse selection of restaurants. An unusually temperate climate allows for whale watching, cycling, hiking, surfing and diving. We are the most outdoor-oriented urban population in Canada. It is within this remarkable setting that the Victoria Academy of Dramatic Arts offers its exceptional training program.




QUESTIONS?

PLEASE CONTACT US.


TEL. 250.580.2588 / EMAIL: [email protected] / WEB: WWW.VADARTS.COM

MAILING ADDRESS:618 Yates Street, Victoria BC, V8W 1K9




2012 - 2013 COURSE CALENDAR (2013/14 TO BE FINALIZED)

October 2012Sunday Monday Tuesday Wednesday Thursday Friday Saturday

9:00 – 11:00

12:00 – 3:00

1M0V PSY

SC ST

2VOI

INS

3MOV PSY

SC ST

4VOI

INS

5IMP

PRI ST - TUT

ACT CAM = Acting for Camera

INS = Actor's Instrument

79:00 – 11:00

12:00 – 3:00

8MOV PSY

SC ST

9VOI

INS

10MOV PSY

SC ST

11VOI

INS

12IMP

PRI ST - TUT

AUD TECH = Audition Technique and the Business of Acting

IMP = Improvisation

149:00 – 11:00

12:00 – 3:00

15MOV PSY

SC ST

16VOI

INS

17MOV PSY

SC ST

18VOI

INS

19IMP

PRI ST - TUT

MEIS = Meisner Approach

MOV = Movement

219:00 – 11:00

12:00 – 3:00

22MOV PSY

SC ST

23VOI

INS

24MOV PSY

SC ST

25VOI

INS

26IMP

SCENE SHOWING

MOV PSY = Movement Psychology

SC ST = Scene Study

289:00 – 11:00

12:00 – 3:00

29MOV PSY

SC ST

30VOI

INS

31MOV PSY SC ST

SHAK = Shakespeare

STA COM = Stage Combat

VOI = Voice




'November 2012Sunday Monday Tuesday Wednesday Thursday Friday Saturday

9:00 – 11:00

12:00 – 3:00

1VOI

INS

2IMP

PRI ST - TUT



49:00 – 11:00

12:00 – 3:00

5

MOV PSI

SC ST

6

VOI

INS

7

MOV PSY

SC ST

8

VOI

INS

9

IMP

PRI ST - TUT


IMP = Improvisation

119:00 – 11:00

12:00 – 3:00

12

OFF

13

VOI

INS

14

MOV PSY

SC ST

15

VOI

INS

16

IMP

SCENE SHOWING


MOV = Movement

189:00 – 11:00

12:00 – 3:00

19

MOV PSY

SC ST

20

VOI

INS

21

MOV PSY

SC ST

22

VOI

INS

23

IMP

PRI ST - TUT


SC ST = Scene Study

259:00 – 11:00

12:00 - 3:00

26

MOV PSY

SC ST

27

VOI

INS

28

MOV PSY

SC ST

29

VOI

INS

30

IMP

PRI ST - TUT

SHAK = Shakespeare


VOI = Voice




December 2012Sunday Monday Tuesday Wednesday Thursday Friday Saturday



29:00 – 11:00

12:00 – 3:00

3MOV PSY

SC ST

4VOI

INS

5MOV PSY

SC ST

6VOI

INS

7IMP

PRI ST - TUT


IMP = Improvisation

99:00 – 3:00

10PERFORMANCE PROJECTDEC. 10 - 21

11REHEARSAL

12REHEARSAL

13REHEARSAL

14REHEARSAL


MOV = Movement

169:00 – 3:00

17REHEARSAL

18REHEARSAL

19REHEARSAL

20REHEARSAL

21REHEARSAL

PERFORMANCEEVENING


SC ST = Scene Study

23 / 30 24 / 31XMAS BREAK

DEC 22 – JAN 6

25

Christmas Day

26 27 28 SHAK = Shakespeare


VOI = Voice




January 2013Sunday Monday Tuesday Wednesday Thursday Friday Saturday

1 2 3 4 ACT CAM = Acting for Camera


SHAK = Shakespeare

69:00 – 11:00

12:00 – 3:00

7 MOV PSY

SC ST

8 VOI

INS

9 MOV PSY

SHAK

10 VOI

INS

11 MEIS

PRI ST - TUT


IMP = Improvisation

139:00 – 3:00

12:00 – 3:00

14 MOV PSY

SC ST

15 VOI

INS

16 MOV PSY

SHAK

17 VOI

INS

18 MEIS

PRI ST - TUT


MOV = Movement

209:00 – 3:00

12:00 – 3:00

21 MOV PSY

SC ST

22 VOI

INS

23 MOV PSY

SHAK

24 VOI

INS

25 MEIS

SCENESHOWING


SC ST = Scene Study

27 9:00 – 3:00

12:00 – 3:00

28 MOV PSY

SC ST

29 VOI

INS

30 MOV PSY

SHAK

31 VOI

INS

SHAK = Shakespeare


VOI = Voice




February 2013Sunday Monday Tuesday Wednesday Thursday Friday Saturday

1

MEIS

TUT



3 9:00 – 11:00

12:00 – 3:00

4 MOV PSY

SC ST

5 VOI

INS

6 MOV PSY

SHAK

7 VOI

INS

8 MEIS

TUT


IMP = Improvisation

10 9:00 – 11:00

12:00 – 3:00

11 MOV PSY

SC ST

12 VOI

INS

13 MOV PSY

SHAK

14 VOI

INS

15 MEIS

SCENE SHOWING


MOV = Movement

17 9:00 – 11:00

12:00 – 3:00

18 MOV PSY

SC ST

19 VOI

INS

20 MOV PSY

SHAK

21 VOI

INS

22 MEIS

PRI ST - TUT


SC ST = Scene Study

24 9:00 – 11:00

12:00 – 3:00

25 MOV PSY

SC ST

26 VOI

INS

27 MOV PSY

SHAK

28 VOI

INS


VOI = Voice




March 2013Sunday Monday Tuesday Wednesday Thursday Friday Saturday

1 MEIS

PRI ST - TUT



3 9:00 – 11:00

12:00 – 3:00

4 MOV PSY

ACT CAM

5 VOI

INS

6 MOV PSY

ACT CAM

7 VOI

INS

8 STA COM

SCENESHOWING


IMP = Improvisation

10 9:00 – 11:00

12:00 – 3:00

11 VOI

ACT CAM

12 MOV

INS

13 VOI

ACT CAM

14 MOV

INS

15 STA COM

PRI ST -TUT


MOV = Movement

17 9:00 – 11:00

12:00 – 3:00

18 VOI

ACT CAM

19 MOV

INS

20 VOI

ACT CAM

21 MOV

INS

22 STA COM

SCENE SHOWING


SC ST = Scene Study

24 9:00 – 11:00

12:00 – 3:00

25 SPRING BREAKMAR 25 - 31

26 27 28 29 SHAK = Shakespeare


VOI = Voice




April 2013Sunday Monday Tuesday Wednesday Thursday Friday Saturday

1 VOI

AUD TECH

2 MOV

INS

3 VOI

ACT CAM

4 MOV

INS

5 STA COM

AUD TECH



7 9:00 – 11:00

12:00 – 3:00

8VOI

AUD TECH

9 MOV

INS

10 VOI

ACT CAM

11 MOV

INS

12 STA COM

AUD TECH


IMP = Improvisation

14 9:00 – 11:00

12:00 – 3:00

15 VOI

AUD TECH

16 MOV

INS

17 VOI

ACT CAM

18 MOV

INS

19 STA COM

SCENE SHOWING


MOV = Movement

21 9:00 – 11:00

12:00 – 3:00

22 VOI

AUD TECH

23 MOV

INS

24 VOI

ACT CAM

25 MOV

INS

26 STA COM

PRI ST TUT


SC ST = Scene Study

28 9:00 – 11:00

12:00 – 3:00

29 VOI

AUD TECH

30 MOV

GUEST

SHAK = Shakespeare


VOI = Voice




May 2013Sunday Monday Tuesday Wednesday Thursday Friday Saturday

1 GUEST

GUEST

2 MOV

GUEST

3 AUD TECH

TUT

4

5 9:00 – 11:00

12:00 – 3:00

6 GUEST

AUD TECH

7 GUEST

GUEST

8 GUEST

GUEST

9 GUEST

GUEST

10 GUEST

TUT

11

12

9:00 – 3:00

13

REHEARSAL

14

REHEARSAL

15

REHEARSAL

16

REHEARSAL

17

REHEARSAL

18

19

9:00 – 3:00

20

REHEARSAL

21

REHEARSAL

22

REHEARSAL

23

REHEARSAL

24

REHEARSAL

25

26

9:00 – 3:00

27

REHEARSAL

28

REHEARSAL

29

REHEARSAL

30

REHEASAL

31 REHEARSAL

SHOW

Notes:GRAD

JUNE 1

Note that the Academy reserves the right to make adjustments to the program including hiring new instructors and adjusting the program curriculum.




WHO WILL YOU BE?


acting for film and theatre - vadarts brochure

Documents

program descriptionan

naturalistic acting

training of actors

admission requirements

mandatory courses

courses overviews

theatregraduation requirements

month foundational training