Everybody’s Got a Right to Their Shakespeare (Even John Wilkes Booth)
Among the bounty of items in the Ransom Center’s exhibit about the Bard will be the assassin’s script for ‘Richard III.’
Among the bounty of items in the Ransom Center’s exhibit about the Bard will be the assassin’s script for ‘Richard III.’
All stage performers must strike a balance between ‘head’ work and physical theatre, but the main trick may be not to see them as separate.
Carrie Coon, Crystal Dickinson, Maria Dizzia, Daniel Duque-Estrada, Stephen McKinley Henderson, and Jon Norman Schneider talk training, acting process, and the mind/body connection.
The writer shares her experience of spending 10 months in Blue Lake, Calif., at the Dell’Arte International School of Physical Theatre.
How circus arts companies are training artists to become both actors and acrobats.
Theatre companies and training programs are incorporating physical acting training to strengthen ensembles and improve performance.
Bullying may be falling from of the headlines, but it’s still important for theatres and education programs to find ways to prevent it.
For the author of ‘One Flea Spare’ and ‘Night Is a Room,’ the why of playwriting is vastly more important than the how. Still, she has some pointers about both.
Obviously theatres should give priority to disabled actors in roles defined as disabled. The next step: to consider them for all roles.
Operas, musicals, and classic plays are among the performances offered during the California university’s academic year.