Chuck Hudson presents

Master Classes and Workshops for Actors and Singers

• Individual Audition Coaching: Active Staging for Monologues and Arias

• Acting Techniques for Actors and Singers

•     Movement Techniques for Actors and Singers: Physical Behavior on Stage
      Creating Character and Action Using the Text

• Comedy and Comic Timing: Italian Commedia dell'Arte and Opera Buffo
  Period Style Movement: Baroque through Victorian, others
  Mime Techniques: Decroux and Marceau, others
  Greek Choral Work and Ensemble Acting
  Trouser Roles and Cross Gender Performance
  Mask Work: Neutral and Commedia Half-Mask, others
  Creating Original Works: Group and Solo Performance
  Post Modernism, Absurdism and Expressionism
  Workshops for Stage Directors

List of Workshops and Master Classes in the coming months

Course Objectives

To explore and utilize the complete Psycho-physical energy of the performer; i.e., both physical and mental energies, which allows a greater control of expressiveness by linking specific movement and acting techniques with the generation and truthful expression of emotions and the presentation of dimensional characters in action.

To experience the differences between Truth and Reality in order to create and sustain a dimensional and truthful performance in whatever style may be presented. In contrast to the majority of Movement Training courses designed for performers available in the United States, which present exercises that prepare the performer for the stage or that are generally therapeutic, these classes will allow the performer dramatic control over the entire body in order to go “beyond the music” and to "go beyond the words" in the development of character, sub textual conflicts, dramatic intentions, and actional choices while performing on stage in any style.

In contrast to the majority of Acting Classes available, these classes will be antithetical to the schools of Contemporary American Cinematic Realism which generally distance the performer of style productions from creating truth in their given contexts. A specific difficulty for chorus and supernumeraries is maintaining action and dimension while “just standing there” or “just sitting there,” and while performing in large groups and oratorio.

Curriculum

What does the performer do with the body on stage when s/he is not dancing, fighting, or doing acrobatics?  “What do I do with my hands?” and “How should I stand?” are signals that the performer is not comfortable with his/her body; How and why a person moves the way they do is linked with finding ways to create action and overcome obstacles on stage.  Drawing on traditional and contemporary European schools of thought, this course will explore dynamics, rhythm, and the use of three-dimensional movements, aiding in the union of the words, music, and the performer’s entire self.

Each class will be divided as follows: Psychophysical warm-up, study of a particular technique, and utilization of this technique in an improvisation or scene work, group discussion and criticism. A variety of my own technique documents will be designed and generated to meet specific needs.