M.F.A. in Theatre Direction (International) 2012- 2014
East 15 Acting School (University of Essex), London UK
This is a unique course designed specifically for students who already are or wish to become professional theatre directors. It is one of the most established directing courses in the U.K, with a mixture of workshops, projects and dialogues with leading International and British directors and theatre practitioners.
Stanislavskian Acting Methodology and Meyerhold Biometrics
The Russian Academy of Theatre Arts (G.I.T.I.S.), Moscow RU
Masters: Mikhail Chumachenko & Maria Shmaevich
GITIS is the longest established and most internationally renowned theatre school in the former Soviet Union. The institution has degree-awarding status and the special status of ‘Academy’ making it one of the highest possible establishments of learning in the country.
This module examines the main principles of Stanislavsky’s later acting and directing methodology. It combines acting, directing and pedagogy techniques developed by Stanislavsky and his heirs such as Maria Knebles and Mikael Chekov including Active Analysis and the Etude rehearsal system. As well as Vsevolad Meyerhold and the development of the theory of biometrics – an important precursor of conceptual and physical modes of theatre.
Theatre of the East: Bali Module
The Indonesian Institute for the Arts, Denpasar & Bali Module for the World
Prof. I Nyoman Sedana, Ph.D.
The Bali module has been developed over many years as a product of the partnership between ISI Denpasar and East 15 Acting School, University of Essex, England. It was created by Professor Leon Rubin from East 15 and Professor Nyoman Sedana from ISI to introduce MA/MFA International Theatre Directing students from East 15 to the performing Arts and Culture of Bali. The module focusses on various genres and styles of performance with a strong emphasis on practical skills, giving additional importance to seminars and discussions about Balinese religious, philosophical and aesthetic traditions. The exchange included but is was limited to an intensive study of Topeng (the traditional Masked Dance Theatre), Wayang Kulit (Ancient Shadow Plays) and Barris and Legong (Dance). The program concluded with a cross cultural collaboration with Balinese students from ISI in a final performance.
The Artistic Director Module
Anthony Clark
This module addresses itself specifically to students with a prior knowledge of directing and of the working of a theatre company. It focuses on the specific problems of leading a company as Artistic Director. Including budgeting, accounting and cash flow monitoring; the relationship between Chief Executive , Artistic Director, Administrator and Heads of Departments; Board of Directors; contracting, standard union contracts and others; artists’, technicians and support staff contracts; Devising and implementing policy; Season Planning; Marketing and publicity; Outreach and roles in the ecology; Relationships with Arts Councils and other funding bodies.
Shakespeare Module
Anthony Clark
This module is designed to provide an introduction to the problems of directing Shakespeare and his contemporaries. It develops specific textual skills and places the plays within the context of the Elizabethan world-view and its reflection in the playhouse. It focuses on techniques designed to help actors with speaking verse and examines problems of staging, design and interpretation.
Techniques of Adaptation
Anthony Clark and Michael Fry
This module examines the problems of adapting non-dramatic texts for performance. It takes as its starting point the pioneering work done by the Shared Experience company in the 1970s and looks at large-scale adaptations such as the RSC’s Nicholas Nickleby.
Physical Theatre Module
Robin Guiver (Warhorse) and Heriberto Montalban (LISPA)
This module addresses itself to the role of the director working with a physical theatre company. Starting from the experience of companies such as Complicité and Trestle, it examines the specific problems of company dynamics and of style inherent in overtly physical forms of theatre.
Workshops and Lectures:
- Devising with Shakespeare: Lucy Bailey (English National Opera, The Globe)
- Working Classical Text with Actors: Michael Pennington (Royal Shakespeare Company)
- Rehearsal Techniques: Mike Alfreds (Shared Experience)
- Creating Verbatim Texts: Robin Soans (Talking to Terrorists)
- Devising Theatre: Will Pinchin and Dorie Kinnear (Grafted Cede)
- Creation and Devising: Allel Nedjari (Gecko Theatre, The Arab and the Jew)
- Storytelling: Jennifer Pearcy-Edwards (Infectious Theatre)
- Action Analysis (Russian Stanislavski System):David Jackson
- In-Yer-Face and Contemporary British Theatre: Aleks Sierz (Rewriting the Nation, In-Yer-Face Theatre)
- Artistic Directorship TYA: Tony Graham (Unicorn Theatre)
- On Directing, John Caird (Les Miserables)