AD: 9 Week Advanced Scene Class with Karen Kohlhaas of the Atlantic Theater Co.

AD: 9 Week Advanced Scene Class with Karen Kohlhaas of the Atlantic Theater Co.

CATEGORY: Career Services and Spaces

The Art and the Audition
New York, NY 10011
US

CONTACT NAME

Karen Kohlhaas

Job Details

DESCRIPTION

Hi Everyone,
This is a class about GROWTH. You will be asked to send in an artistic statement about where you are in your craft and what you want to work on/how you want to be challenged. 
All info and application below. Feel free to write with questions.
Karen 

ADVANCED SCENE STUDY
with Karen Kohlhaas

MONDAY EVENINGS 6:30-10pm:
March 9, 16, March 23, 30, [skip April 6], April 13, 20, 27, May 4, 11

These classes are for serious actors with solid previous training* who want to strengthen technique in script analysis and performance, beat old habits, and challenge themselves with role type, emotional depth, subject matter or skills such as accent work. 
(*Solid previous training = college degree program or conservatory, or reputable scene study with good teachers and some voice & movement work. Email to discuss - if I don't yet know you or your work, please send resume/reel.)

The classes will feature great playwriting, from classic to contemporary.
We'll use elements of Practical Aesthetics (Atlantic) acting technique to address scene and throughline script analysis, and work deeply on moment to moment work, tone, and style to bring out as much depth and feeling in the scene as possible.I'll ask everyone to do regular physical warmups and vocal practice during the time class is in session because it makes such a difference and can take your work to light speed!

And, as with all scene classes I teach, I request that everyone commit to the highest possible standards—in terms of your own preparation, and being excellent, communicative, generous, prepared, punctual scene partners for each other—please only apply if you are willing to do so.

CLASS FEATURES
• Everyone will work in 5 out of 9 classes
• Everyone rehearses, performs, and brings back two 10-15 min. scenes
• Classes are 3.5 hours long and class size will be limited to 12.
• We will deeply work script analysis, moment to moment acting, and how to stage yourself effectively

GENERAL CLASS SCHEDULE
Class 1 - Intro, script analysis on first scenes (All)
Class 2 First Scenes
Class 3 First Scenes
Class 4 First Scenes bringbacks
Class 5 First Scenes bringbacks
Class 6 Second Scenes
Class 7 Second Scenes
Class 8 Second Scenes bringbacks
Class 9 Second Scenes bringbacks

Tuition |  $595. Payment plans available.

How to Apply | Please reply to this post with your pic/resume, reel if you have it and if I have not worked with you before, and an artistic statement of any length about where you are with your craft and what you would like to work on in this class. Please include any questions.

Scene choice
Scene choices will come from you sending in specific ideas about what you want to work on; you'll be matched up with partners; you can both propose scenes/roles and I can also suggest plays and roles.

ACTOR COMMENTS FROM PREVIOUS SCENE CLASSES
I have taken a lot of different scene study/acting classes in New York whenever I have been in between projects or felt I was getting stale, and your class is the best. Doing your Tennessee Williams and the Scene Study and in class directing have all been just really helpful and challenging and fun. But in particular what I like about your class is that when you're giving feedback I feel like I'm working with a director, but in a way that supports the choices I'm trying to make. I also really like watching you work with other people on their scenes, you always manage to give some note afterward that is simple but really helpful and addresses things the actor is working on in their craft, and what the scene needs.
—REGINA GIBSON

This class really let us dig into some meaty material with lots of peaks and valleys, and tell more story. Sustaining an action over a long period of time is also a good physical challenge. Bringing back every scene: I felt like we really got to polish our material. Notes notes notes: especially with regard to staging and blocking - They really made everyone's work look way better. 
—GREG HUDSON

I've just been cast in a new project and my whole approach to the role and the rehearsal process has been enriched. I signed up looking to move to the next level in my scene work—to go for the unexpected choice, to work on connecting to my scene partners. From the very first class, I felt like everything was set up for me to succeed. Carefully chosen students were not only talented but were fully invested in the process and respectful and encouraging of others. I learned so much from the adjustments to my own scene work as well as watching the work of others
—LAUREN SNYDER

Class goals and procedure and logistics were so clear - very similar to a rehearsal setting. Approaching the scenes within the context of the play became a survey course of theatre literature, discovering a new author and a few new plays, new things about plays and authors with which I was familiar. Extraordinary practical notes about maintaining tension and telling the story through the staging (e.g. non-parallel positions, carefully choose the close encounters, awareness of reacting\countering with moves etc. I took lots of notes on that ... just wonderful. I loved watching everyone work, watching the scenes come to life, as the actors connected with the "actions." 
—JON LONOFF

Thanks so much for a wonderful class. I very much enjoyed the structure (knowing who was performing and when...and with whom). It was good for me to flex some slightly different muscles and be reminded of the audition "form." Your insight into each scene and every performer was very valuable.
—GARY HILBORN

What worked for me in class was the professional setting with which you approached the scenes and the laser-like efficiency by which you directed us. I felt like I was in rehearsal and I really loved that setting. And in the process, I learned how to be better at and be efficient in physical movement and blocking. More important for me also was that I learned to raise the authentic resonance of my voice, to sustain the voice and the energy to deliver language. And I loved the monologue work at the end. It was the perfect way to punctuate the term. Thank you for all your amazing, specific, tremendous notes to help me evaluate and deepen my work in technique, interpretation, and character exploration. 
—VICTOR LURIO

This class was a total joy and a much-needed creative exercise after and during a soul-crushing production I was in.  I love the way you work--not just the practical method, but the revelatory (at least for me) principle of doing one thing at a time to achieve sharper precision and power, as well as the positive and often hilarious way you give notes. I wish the class could have gone on longer.
—COLETTE THOMAS

KAREN KOHLHAAS is a Director, Teacher, Author, Filmmaker, and Tennessee Williams scholar.Director: Karen is a founding member of New York's Atlantic Theater Company, where her productions include plays by Harold Pinter, David Mamet, Annie Baker, Keith Reddin, Shel Silverstein and Kate Moira Ryan. She has also directed for the New York Shakespeare Festival/Public Theater, Naked Angels, Ensemble Studio Theatre, New York Live Arts, 24 Hour Plays on Broadway, the Alley Theatre, Houston, New Dramatists, Menagerie Theatre in Cambridge, UK, The Culture Project, Practical Theater Co. in Sydney and others. Teacher: Karen is a master teacher of Practical Aesthetics acting technique with over 30 years in the classroom, and is a senior teacher at the Atlantic Acting School's conservatory programs. She teaches her own NYC classes in Acting, Directing (summer only), monologues, and Fearless Cold Reading & Audition Technique. She teaches guest workshops around the country and internationally including theaters, universities, and conferences in Atlanta, Austin, Seattle, Los Angeles, San Francisco, Dallas, Cleveland, Houston, Miami, Mississippi, England, Australia, and Italy. She teaches Monologue Teacher Training to university and high school teachers. Author: Karen's books are The Monologue Audition: A Practical Guide for Actors (included by Helen Mirren as part of her Master Class coursework and a Backstage Must-Read); How To Choose A Monologue For Any Audition; and, The Monologue Teacher's Manual. Filmmaker: Karen's short films include two with acclaimed performer/playwright Taylor Mac, several short documentaries; and the instructional films Roots & Branches Qi Gong for the T'ai Chi Foundation and The Monologue Audition Video (DVD)Tennessee Williams: Since 2011 Karen has been researching and creating a full length documentary and book on Tennessee Williams' Mississippi Delta roots. She has been a panelist and presenter at the New Orleans and Mississippi Delta Tennessee Williams Festivals, and has curated and co-founded, with St. George's Episcopal Church, the Tennessee Williams Rectory Museum in the former residence of Williams and his family. She teaches Tennessee Williams advanced scene weekends in New York City, and in January 2020 conducted, with playwright Craig Lucas, the first annual week-long residential training for actors and playwrights in Clarksdale, Mississippi. 

 

DURATION

March 9, 2020 - May 11, 2020

HOW TO APPLY

APPLY BY EMAIL

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