Theatre Workshops

GPTC Theatre WorkShops are a vibrant series of hands-on writing and performance-related classes designed and led by national theatre professionals.  WorkShops cover a variety of techniques and approaches and provide participants and an excellent opportunity to create and collaborate with one another while under the instruction of some of the top theatre artists in the country.

WorkShops are free of charge for all attendees and the general public.  Sessions are held throughout the Conference week, with sign-up sheets available at the Conference registration desk.

To pre-register, mailto:saworking@mccneb.edu (Scott Working) beginning April 17th.

2017 Theatre WorkShops

Session One: 10:30 am – 12:00 pm

Hedda v. Nora with Kristen Kosmas
Someone asked me recently what inspires me to live. I found this question shocking, and now I try to think about it every day. Someone else suggested to me recently that I sincerely consider the fact— the possibility— that I might die at any moment. I find this consideration exhilarating. In this workshop, we’ll write about life and death and see what that does! It might generate material for a new project, invigorate an existing project, and/or reanimate and clarify our intentions and commitments to our theater and performance making practices.

The Business of Show Business with Levy Lee Simon
In this workshop screenwriter, director, producer, actor and award winning playwright, Levy Lee Simon will discuss the business of show business from his personal experience in Hollywood and New York. Along with personal stories, literary agents, studios, production companies, casting, budgets, and producing well be discussed, in a question and answer interactive format.

How to Publish and Market Your Play with Rob Urbinati
Many changes are afoot in the publishing industry, and playwrights should be aware of the possibilities and challenges that exist for publishing and marketing their work with the established publishing houses, the smaller publishers, and the new, “indie” presses.

Any Actor Any Play with Meghan Finn
In this workshop we will discuss techniques for bridging the gap between Stanislavski-based American acting training and new writing. We will examine both the writer’s and the actor’s process through a series of exercises geared toward unlocking the divide. We will create a blueprint for collaboration that can be used in any rehearsal process with any actor on any play. Writers and Actors are encouraged to attend.

Community-Engaged Theater with Michael John Garcés
Cornerstone Theater Company’s Artistic Director, Michael Garces, will share some of the strategies and exercises the company uses to create unique and meaningful works of theatre with a wide range of communities and populations.

 

Session Two: 1:30 – 3:00 pm

Trusting your Writers Voice: A Master Class in Playwriting with Constance Congdon

Arts Our Way! with Why Arts
Explore the creative and professional possibilities of working with individuals with a range of intellectual and physical disabilities.  WhyArts teaching artists Stephanie Anderson, Kim Jubenville, and Josh Mullady, with Chris Bock, a local playwright with disabilities, will lead the workshop. Visit their website and on facebook for more information about their organization.  http://www.whyartsinc.org/; and www.facebook.com/WhyArtsinc

Master Class in 2 Parts (part one) with Mac Wellman
Attendees must sign up for both workshops. There is a limit of 8.
(THIS WORKSHOP IS NOW FULL)

Session Three: 10:30 am – 12:00 pm

Writing into Character with Eliza Bent
Monologues, reveries, and all manner of the mundane for characters who are complicated, flawed and inconsistent just like the people you know in real life.

Playwrights and Play Rights with Homero Vela
Attorney Homero Vela will discuss legal issues related to writing, producing, and licensing theatrical works, including issues related to copyright, reproduction, and fair use.

The End in the Beginning with Kate Snodgrass
In all good drama, we can sense the end in the beginning of a play.  In Death of a Salesman–Willy is in extremis and “death” is mentioned almost immediately.  We’ll look at the beginnings of plays to note the various techniques writers use (character, plot, theme, tone, et al.) to clarify the world of their play.  Bring the first 2-3 pages of a draft to read aloud, and let us tell you where it ends; or bring an idea for a play as yet not fully formed, and let us help you decide where best to begin.

Play Date! with Bruce Lemon
Remember when we had superpowers and lived in castles? When we could move objects with our minds and walk through walls? I was flying to the moon during recess and saved the world from total destruction at least 4 times a week. As kids we wield the imagination with the skill of expert swordsmen but many lose their grip as we grow. Let’s reclaim those dormant powers. Leave your adulting duties at the door come play.

The Energized Space with Mary Beth Easley and Mark Bruckner
Everything is energy and that’s all there is to it.  Match the Frequency of the reality you want and you cannot help but get that reality.  It can be no other way.  This is not philosophy.  This is Physics.  – Albert Einstein 

Theater is a living art form: it takes place in time (impacted by sound), moving (kinetically) through space (the visual field).  This living art form generates energy, and that energy impacts both the generator and the receiver.  The purpose of this workshop is to introduce the principles of individual and collective energy flow and investigate how these principles can be applied toward the creation of dramatic art.  This is an immersive workshop where participants will also explore how music, soundscapes, and live Foley activate kinetic impulse and feed storytelling.

Session four: 10:30 am – 12:00 pm

Getting Unstuck with Kia Corthron
Do you feel stuck on the play you’re currently working on? Or did you get stuck on a former piece and finally, in frustration, put it aside? This workshop will help get you out of creative gridlock, allowing you to open up your play via new, unexplored territory.

Locating the Tone with Kip Fagan
Many contemporary playwrights influenced by experimentalists like Mac Wellman and avant-garde companies like the Wooster Group have returned to “well-made play” narrative conventions while retaining the blown-out structures and inventive theatricality of their influences. Is there a common language for approaching these plays in rehearsal? This workshop examines the tools needed — and the tools that need to be invented — for rehearsing this kind of work

The End in the Beginning with Kate Snodgrass
In all good drama, we can sense the end in the beginning of a play.  In Death of a Salesman–Willy is in extremis and “death” is mentioned almost immediately.  We’ll look at the beginnings of plays to note the various techniques writers use (character, plot, theme, tone, et al.) to clarify the world of their play.  Bring the first 2-3 pages of a draft to read aloud, and let us tell you where it ends; or bring an idea for a play as yet not fully formed, and let us help you decide where best to begin.

Hedda v. Nora with Kristen Kosmas
Someone asked me recently what inspires me to live. I found this question shocking, and now I try to think about it every day. Someone else suggested to me recently that I sincerely consider the fact— the possibility— that I might die at any moment. I find this consideration exhilarating. In this workshop, we’ll write about life and death and see what that does! It might generate material for a new project, invigorate an existing project, and/or reanimate and clarify our intentions and commitments to our theater and performance making practices.

Any Actor Any Play with Meghan Finn
In this workshop we will discuss techniques for bridging the gap between Stanislavski-based American acting training and new writing. We will examine both the writer’s and the actor’s process through a series of exercises geared toward unlocking the divide. We will create a blueprint for collaboration that can be used in any rehearsal process with any actor on any play. Writers and Actors are encouraged to attend.

Everyone is an Acrobat with Terry Brennan (class limit 12)
This movement workshop that will walk you through the simple and less complicated acrobatic techniques that can be used on stage – and by actors who aren’t trained acrobats or stage-combatants.

Session Five: 1:45 – 3:15 pm

Trusting your Writers Voice: A Master Class in Playwriting with Constance Congdon

still, small: writing from contemplation with Erik Ehn
In-session exercises

Own New York Before it Owns You with Lou Moreno
This workshop is designed to create a check list for theater makers planning their entry to New York. Theater careers are extremely difficult. So putting oneself in a position to succeed from day 1 is imperative. Navigating NY Theater will help inform future New Yorkers on the ins and outs of getting started. From finding a place to live and work to most importantly connect to a theater community.

THE SPEAKER/ THE MOTEL/ THE MUSIC  with Len Jenkin
What moves the words to hit the air? Who is the speaker actually talking to? Who’s listening?
Who does the speaker serve? What mask is the speaker wearing?
The Blue Spruce. Vacancy. 3 parallel rooms
Who is in them? What’s on TV? Does the bed have Magic Fingers?
Who’s calling? Who’s in the office? Is time (or the time) the same in all three rooms?
Music.
Words and music: the water and the well

Master Class in 2 Parts (Part Two) with Mac Wellman
Attendees must sign up for both workshops. There is a limit of 8.
(THIS WORKSHOP IS NOW FULL)