35th Anniversary WILLIAM INGE FESTIVAL

 APRIL 20-23, 2016

 

WORKSHOP DESCRIPTIONS

 

WILLIAM INGE:

GETTING TO KNOW WILLIAM INGE (Ralph Voss)

Inge Biographer Ralph Voss gives a talk on the life and work of William Inge; features several key manuscripts and other original sources from the over 400 items in our nationally recognized archive, The Inge Collection. Thurs, 4/21, 10:00 a.m.- Thurs. 4/21, 3:30 p.m.- Fri., 4/22, 9:00 a.m.

WILLIAM INGE: THE INTERVIEW, a play on reality by Walter Willison, adapted from interviews with William Inge.  Presented by Barbara Dana and Walter Willison.  

 Return to 1973 and attend a seminar with William Inge, himself, as he visits Independence, Kansas, for one last time, in 1973. Though the "visit" never took place, the interviews did. Compiled from 1971-1973 interviews, including previously unpublished material, by multiple Tony nominee Walter Willison, who also stands in for Inge, with Barbara Dana (star of Inge's final Broadway play WHERE'S DADDY), as Margaret Goheen. Hear the playwright's frank and candid comments, made during the final years of his life, on growing up in Independence, Kansas during the early part of the 20th century, teaching, the real life inspirations for his characters, the theatre and the State of the Art during his lifetime, personal and professional relationships, and his private lifestyle choices. Sat. 4/23, 11:00 a.m. AC200

 

 

BEGINNING ACTING:

 

FINDING THE SWEET SPOT” ACTING WORKSHOP (Alan Safier)

What are the basic components of a play, a scene, a monologue? Bring in a scene or monologue and Alan Safier will demonstrate how attention to action, objective, super-objective, character and activity can make a generalized, bland performance vibrant and specific. Fri, 4/22, 11:00 a.m. FA 122

 

IT’S JAW-DROPPING!! (Ben Corbett)

This workshop explores how actors use their voice – and enables them to free their natural voices, using exercises developed by Kristin Linklater to find relaxation in vocal production.  Hands-on activities for students at all levels. Fri., 4/22, 11:00 a.m. FA104

 

MOVEMENT

 

MORNING STRETCH THROUGH ELEMENTARY QI GONG (Bridget Carson) Thurs., 4/21, 8:00 a.m.

 

BEGINNING YOGA (Hannah Joyce Hoven) Fri., 4/22 8:00 a.m. FA104 (Black Box)

 

MOVEMENT FOR THE ACTOR (David Chrzanowski)

The imagination is a powerful tool that the actor uses every time they approach a role. This workshop will explore the importance of the participant’s imagination through physical movement and various other methods that encourage a sense of play. Thurs., 4/21 9:00 a.m. FA 104

 

STAGE VIOLENCE WITHOUT TEARS (Cynthia Hyer English)

An introduction to unarmed stage combat. Learn slaps, punches and other basic stage violence practices to keep you safe on stage. Participants should wear clothing they can move in and refrain from wearing jewelry. Thurs., 4/21, 11:00 a.m., FA 104

 

CLOWN 101(David Chrzanowski)

Come ready to explore your playful and authentic side! Whether your shy and introverted, or comfortable in large groups, this workshop will engage and inspire you see that all of your mistakes are actually good fodder for hilarity! Often misrepresented, or misunderstood the clown is nothing more than the sparkle of what's already inside of you. Fri., 4/22, 9:00 a.m., FA 104

 

ADVANCED ACTING:

 

ACTING & MONOLOGUES (John Schuck)

A monologue is an excerpt of a longer piece written for stage or film. It’s a sample of your work to show agents, casting directors, producers, directors, etc. what you can do as an actor. A good monologue plays up your strengths; it shows the auditor what you can do, who you can play and who you are.  Those wishing to perform should bring an extra copy of their prepared monologue. Veteran Actor John Schuck works one on one with up to 6 student actors.  Thurs., 4/21, 10:00 a.m. FA104

 

A BARD'S EYE VIEW (Jonathan McMurtry)

 "Suit the action to the word, and the word to the action."  Hamlet Act III, Scene 2

Jonathan is a graduate of the Royal Academy of Dramatic Arts, John Barton was his professor. “I can still hear him: ‘Everything is in the words, and the words only.’” Jonathan taught Shakespeare to the MFA students at the Old Globe for many years and his teachings are from an actor's point of view - not an academic one. Verbs are stressed, not adverbs or adjectives. Not flowery; ACTIVE, with alliteration and antithesis. Thurs., 4/21, 11:00 a.m. CLC 104

Participants pleases prepare this speech:

                                                                Sonnet 18

                                             Shall I compare thee to a summer's day?

                                     Thou art more lovely and more temperate:

                                     Rough winds do shake the darling buds of May,

                                     And summer's lease hath all too short a date;

                                     Sometimes too hot the eye of heaven shines,

                                     And often is his gold complexion dimm'd,

                                     And every fair from fair sometime declines,

                                     By chance or nature's changing course untrimm'd:

                                     But thy eternal summer shall not fade,

                                     Nor lose possession of that fair thou ow'st,

                                     Nor shall death brag thou wand'rest in his shade,

                                     When in eternal lines to time thou grow'st.

                                              So long as men can breathe or eyes can see,

                                              So long live this, and this gives life to thee.

 

 

COMEDY IMPROV (Ron West)

3 Things that Will Make You Hilarious.   Reviewing improvisation basics with “Whose Line Is It Anyway?” veteran Ron West. Fri., 4/22, 10:00 a.m. FA104

 

VIEWPOINTS: THE LANGUAGE OF MOVEMENT (Virginia and Justin Scheuer)

An introductory workshop on Viewpoints - a technique that provides actors and directors with a vocabulary of stage movement and composition. Students will learn the 9 Viewpoints of space and time, and will explore how they can be used to create strong character choices. Fri., 4/22, 11:00 a.m. FA122

 

 “LESS IS MORE” VOICE-OVER WORKOUT (Alan Safier)

How is voice-over acting different from stage acting? What are the tricks of the trade to doing dialogue commercials? Do I have the right kind of voice to make it in the business? Alan Safier, one of the busiest voice actors in New York, takes you through the ins and outs of the v/o world. Participants will have the opportunity to work on real commercial copy and be coached by one of the best in the business. Thurs., 4/21- 9:00 a.m. FA122

 

CAN YOU HEAR ME NOW? (Ben Corbett)

Freeing the natural voice and the power of your vocal instrument for stage work, through the use of Kristin Linklater exercises. Thurs., 10:00 a.m., FA 122

 

MAKING THE MOVE: KS TO NEW YORK CITY! (Quinn Warren)

Having grown up in KS and made the move myself, I know how challenging (and rewarding!) it can be. This workshop will cover a range of topics about the ins and outs of auditioning in NYC (and anywhere professionally) and answer questions such as: How to submit yourself for an audition?  What is an EPA? How does an EPA work? What is it like auditioning for NYC casting directors? A mock audition will be held; actors are encouraged to come prepared with a contemporary monologue. Fri., 4/22, 11:00 FA 102

 

A LIFE IN THE THEATER

Veteran actors (and lifelong friends), John Schuck and Jonathan McMurtry discuss their artistic journeys and careers with Karen Carpenter. Thurs., 4/21 - 9:00 a.m. AC200

 

MUSICAL THEATER:

 

THE STORY OF A SONG: TAKING YOUR SONG FROM “WELL DONE” TO “WOW!” (Daisy Eagan) 

This hour long workshop will encourage musical theater performers to personalize their audition material and make each moment their own. Whether you’re singing a well-known song from Les Miserables, or something totally obscure from a show no one has seen, this workshop will show you how to make it fresh and instantly grab the attention of the people on the other side of the table. Even an untrained singer can nail a musical theater audition! It’s all in how you tell the story and show them YOU! Students should come prepared with their best 32 bars of sheet music. Fri., 4/22, 10:00 a.m. FA 122

 

MUSICAL AUDITIONS: LANDING THE SONG (Walter Willison, Marcy DeGonge Manfredi)

Veteran music director Paul Baker, Multiple-Tony nominee Walter Willison, and Broadway Diva Marcy DeGonge Manfredi of Cats and Phantom fame, work with you on your Musical audition material.

Bring a prepared song to participate. Fri., 4/22, 9:00 a.m. FA 122

 

OTHER ROLES:

DIRECTING

NEW PLAYS: THE ROLE OF THE DIRECTOR (Karen Carpenter)

What is a director’s job in new play development and premiere productions?  How do you interpret a new play, when there is no road map of prior productions to guide you?  Fri., 4/22, 10:00 a.m. FA102

 

DESIGN

THEATRICAL LIGHTING: THE AMAZING TECHNICOLOR DREAM STAGE (Harty Blackert)

Exploring color theory as it applies to how colored stage lights interact with the colors of scenery, costumes, and make-up. Fri., 4/22, 11:00 a.m. Inge Theater

CONTEMPORARY PROJECTION DESIGN FOR THEATER (Matthew Haber)

How projections work with live performance, as scenic elements, and to create transitions and the world of the story.  Matthew Haber is a New York based stage and multimedia experience designer. While his practice is primarily focused on video and projection design for theatre, he has also designed video and scenery for opera, dance, themed entertainment, concerts, and live broadcast. Fri., 4/22, 10:00 a.m. Inge Theater

 

WRITING

THE DRAMATISTS TOOLKIT – LIVE (Jeffrey Sweet)

Use of the unspoken word, negotiation over objects, high-context exposition and violation of ritual and convention.  Based on Jeffrey’s book, THE DRAMATIST'S TOOLKIT. Thurs., 4/21 10:00 a.m. CLC 104

INNER AND OUTER DRAMA: FREUD MEETS TRUMP, AN INTRODUCTION TO PLAYWRITING (Howard Wolf, Professor of English, SUNY Buffalo)

 

Howard Wolf -- literary critic, travel writer, memoirist, short story writer -- wrote his first play, "Reunion of a Summer Evening," late in his career. He will share with students of any age what he takes to be the fundamental elements of playwriting as he understands it with reference to some famous plays and his own work (including "Exiles by Starlight," published in India). He has devised some exercises for the workshop so that participants can begin to discover the inner drama that may become a staged reality. Requirements: some writing  implement or PC (tablet), paper, and a willingness to be open to one's inner life (disappointments, dreams, imagination, longings, stream of consciousness). His motto is: "Where  There's A Quill, There's a Way." At the end of the session, participants will have a work-in-progress. Emerson said, "Man is half himself,the other half is his expression." Here's a chance to begin to put the two sides together -- just as East and West meet at the Inge Festival. Fri., 4/22, 9:00 a.m. AC114

 

 

PLAY LAB CLASSES

 

MASTER CLASS IN WRITING (Lee Blessing) Weds., 4/20, 9:30 a.m.-12:00 p.m. AC 200. As assigned. 

 

MASTER CLASS IN WRITING (David Henry Hwang) Thurs., 4/21, 10:00 a.m.-12:00 p.m. FA102.As assigned.

 

MASTER CLASS IN WRITING (Mac Wellman) Thurs., 4/21, 9:30 a.m.-12:00 p.m. AC114. As assigned.

 

IMPROV FOR WRITING (Catherine Butterfield, Jeffrey Sweet, Ron West)

Gathers a group of writers with some improvisation skills, each with a broad-strokes idea for a story they want to tell.  Others in the group are given a scenario from the writer's concept, and they improvise it for the writer, who can either video or audiotape the scene.  The writer - performers perform for each other, with the understanding that whatever magic emerges has no property rights, and is a gift to the writer.  Entire scripts have emerged from the improvising of one little scene. Wed., 4/20, 9:30 a.m.-12:00 p.m., FA104

 

 

PANELS:

The Playwrights’ Center and the National New Play Network: Hannah Joyce Hoven, Gigi Bolt, Karen Carpenter. Fri., 4/22, 9:00 a.m. AC 200

 

Inge’s Place in the American Theater: Barbara Dana, Ralph Voss, Philip Middleton Williams.  Moderator Jackson Bryer. Fri., 4/22, 10:00 a.m. AC 200

 

Wearing Multiple Hats – Writers Who Act or Direct or Otherwise Emulate Orson Welles, Noel Coward and Elaine May: Catherin Butterfield, Ron West, Beaufield Berry.  Moderator Jeffrey Sweet. Fri., 4/22, 11:00 a.m. AC200

 

 

"Where Broadway meets the Prairie."

DAYTIME EVENTS

Festival workshops are unique opportunities!

Guest Artists Workshops held during the William Inge Theater Festival provide unique opportunites to receive tutelage from working professionals.  Bring your prepared monologue or musical theater song for a professional critique; shake out those ideas for a script at a playwriting workshop; or listen in on the discussion of the latest issues confronting the performing arts during panel discussions.  

Inge Festival Daytime Passes allow theater buffs and serious students alike an inside glimpse into "show business."

High School Day is Friday, April 22.

 Workshop Schedule will be posted shortly. 

 

 

 

 

 

 

  Tim Haynes gives students an overview of how the ICC Fab Lab and Theatre are connected.