Master of Fine Arts
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Master of Fine Arts, Acting

    • Acting Studies
      • 10 credits
        DRAMA 611-2 — Dramatic Interpretation I
        10 credits Full Year Faculty


        Approaching the Play (Text Analysis): A first-semester course detailing examination and explanation of a play. Students identify a play’s theme, its structure, and its character relationships. By discovering how to analyze a text and to appreciate a whole play, the student will be better able to approach a specific role in it and to do useful research and homework for rehearsal. (Combined studies)

        Ballroom Dancing: Ballroom dancing engages the actor to explore another side of storytelling (solo/monologue, dance partner/scene partner, team/company). Each dance explores the ways in which people move through their lives physically and psychologically and how each dance has a different point of view and tells a different story. This first-semester class focuses on increasing muscle memory as well as physical and mental presence. The work practices ceremony, grace, body-mind connection, sportsmanship, and the equal importance of leading and following. The work culminates in a formal ballroom competition including well-known and highly respected judges and a master-of-ceremonies from the professional ballroom world. (Combined studies)

        Graduate Improv: In the first semester, improvisation aims to enhance the students’ powers of concentration and relaxation and free them from self-consciousness, fear and pretense. Through a broad spectrum of exercises and etudes including object, sensory and environment work, observation and transformation exercises, neutral scenes etc., the students expand their imaginations and their powers of expression. They practice giving up a need to control or plan and instead begin to respond spontaneously and personally. Improvisational exercises become increasingly structured with an emphasis on given circumstance work—who, what, when, where, why—in order to start the process of scene work. The class meets in divisions twice and week and as a whole group once a week. Feedback is constant and evaluation is based on work on assignments and daily exercises. (Graduates only)

        Graduate Play: Play class involves a reawakening the actors’ most basic instinct: “to play.” Emphases are on risk-taking, listening (so as to “re-act” and not think), observation that written plays are merely sophisticated games, and most importantly, maximizing FUN! Throughout, special attention is given to rehearsal technique, and how to practice. Finally, there is an introduction to the concept of Flow Technique as soon as the ensemble is ready. It is an exploratory class with strong emphasis on participating. Therefore, it is incumbent that the artist/student has an ever-increasing appetite to play, and, more importantly, “to fail,” thereby rousing the actor’s unique intuitive unteachable genius. Graduate Play is a first semester workshop, whereby both actor and teacher will collaborate to find truth and beauty. (Graduates only)

        Masks: Second-semester improvisation on large themes, including mythology and poetic texts, incorporating the wearing of simple masks. The work is designed to free the student from self-consciousness and to release imaginative impulses leading to uninhibited physical expression together with economy of gesture. (Combined studies)

        Point of View I: Point of View (POV) is a yearlong course of study that carries through all four years of the training. The aim of the course is to help the students see their training and their art in a larger context — historical, political, and artistic. On a regular basis, interwoven with their training in voice, movement and acting, they see, meet, and work with other artists from the theater and other art forms (dance, music, architecture) and encounter scientists, politicians, and activists. In these encounters with multiple points of view, students develop their own sense as actors, artists, and citizens. (Combined Studies)

        Rehearsal Projects I: Throughout the year, students are cast in plays and rehearse them under the guidance of professional directors. Plays are selected to challenge the students in a variety of progressively demanding ways. The rehearsal projects are laboratory exercises for exploring an actor’s process and are not aimed toward performance results. Casting is determined by the needs of the training rather than the demands of the play. While the projects are developed to a point at which they are shared with an audience of fellow students and faculty, they are not “produced” but are shown in a room with only basic rehearsal clothes, props, and furniture. These projects are also yardsticks for measuring the degree to which the student is able to apply and integrate what has been learned in the various classes. (Combined studies)

        Scene Study I: This second semester course builds upon the work explored in the Improvisation classes and aims to free students from self-consciousness in order to emphasize the requisite sense of process needed to explore the initial stages of work on scenes. (Combined studies)

        Seminar in Improvisational Techniques: Aims to free students from self-consciousness, fear, and pretense, and to enhance their powers for concentration; to foster a full awareness and control of their inner resources; through a broad spectrum of improvisation, to expand the imagination and to encourage expression, interaction, and temperament. This class meets as a whole group once a week. Feedback is constant and evaluation is based on work on assignments and daily exercises. (Combined studies)


      • 8 credits
        DRAMA 613-4 — Dramatic Techniques I
        8 credits Full Year Faculty


        Dramatic Vocal Technique I: Voice work focuses on the principles and practice of respiration, phonation, resonation, and articulation. Anatomy, physiology, and the physics of tone are explored. Through poetry, actors use sound to create images, rhythm, antithesis, and character. Application and evaluation involves weekly text memorization in poetry and prose, physical exercises, written feedback, and four review sessions with a teacher. (Graduates only)

        Fundamentals of Movement: First semester — Development of creative and effective relationships to space, time, gravity, behavior, energy, imagery, music, breath, text, and relationship communication. The work is impulse driven, dynamic, and grounded in full use of the imagination. Second semester--Laboratory of work focused on introduction of Laban effort shaping and the practical exploration of all aspects of gesture, including graphic, emotional, unconscious, and theatrical. Partial emphasis on eradicating gestural habits and providing a process of expanding gestural vocabulary. Working in all magnitudes, staying grounded in emotional truth. (Combined studies)

        Graduate Alexander Technique: The Alexander Technique is a mind-body method for becoming aware of and changing habits. The goals of the Alexander Technique in the training of actors are (1) to eliminate any unnecessary physical and mental tensions and habitual patterns of misuse that interfere with the free flow of thought, imagination, physical movement and impulse; (2) to develop enhanced postural support (poise) and easeful movement skills; and (3) to assist in the development of a conscious repeatable process that allows for energized availability in the moment and the ability to transform.

        In first-year Alexander, focus is on the development of awareness of oneself in movement: to recognize and learn how to release excess tension and to change physical habits which interfere with the free, easeful, centered use of the body. Through a series of experiential exercises, hands-on guidance by the teacher, and selected readings, students are introduced to the basic Alexander concepts: that we all have habitual patterns that restrict freedom and choice; that the primary control (the head/neck relationship) governs physical organization; that the power of thought affects physicality. The three tools of the Alexander Technique — awareness, conscious inhibition, and direction — are presented and studied in class through observation and hands-on teaching in chair work, table work, floor work, and movement activities. Basic anatomy of the musculoskeletal system is studied and is immediately applied experientially in activities such as sitting, standing, walking and bending. Students learn an Alexander self-lesson to help them maintain good use on their own. Actors work in sections with some individual work in the second semester. Evaluation and feedback occur in the moment through hands-on work and observation by the teacher based on three considerations: the student's understanding of the Alexander principles, physical use of self, and application in activity. (Graduates only)

        Graduate Speech: A variety of techniques are introduced, including those of Arthur Lessac and Edith Skinner, to develop the student's vocal prowess to meet the practical and aesthetic demands of classes, rehearsals, and performances. Development of efficient coordination of the organs of respiration, phonation, resonation, and articulation to follow directions given to change the mode of articulation and vocal production. Development of the ability to recognize and explore the attributes of pitch, duration, and intensity. Discussion of basic vocal anatomy, physiology, sensation, and resonation. Students develop a working knowledge of the International Phonetic Alphabet (IPA). (Graduates only)

        Individual Graduate Voice Instruction: In the first semester, students work with teachers in individual sessions to identify vocal challenges and target these areas immediately to focus and enhance the training. (Graduates only)

        Movement I: A class designed to increase the physical range of the student through stretching, flexibility, and strengthening exercises. Emphasis is placed on rhythm, phrasing, dynamic, intent, and moving in space. The class integrates the process of the Alexander Technique. (Combined studies)

        Music Studies I: An introduction to the basic elements of musical composition, including melody, harmony, rhythm, counterpoint, and orchestral color. Featured are two continuous threads of special interest: live performance in class by Juilliard singers and pianists, and a concentration on music written for the theater from the Middle Ages to Wagner. (Combined studies)

        Stage Combat: In the second semester, students engage in practical study of the essential ingredients of safe, effective, well-acted stage fights: partnering, attacks, defense, falls, chokes, rolls, and the contributions of the actor to the process of creating and managing comic or dramatic stage fights. Although predominantly focused on unarmed work, swordplay will be briefly introduced and integrated into the overall experience. (Combined Studies)


    • Drama Studies
      • 4 credits
        DRAMA S615-6 — Current Events and the Judicious Mind
        4 credits Full Year Rene Houtrides


        In order to create and have a voice, an artist must be aware and have an understanding of the world around him/her. Current Events and the Judicious Mind provides a platform for M.F.A. students to explore the world around them through the lens of current events, news, media, and technology. Students will look at the impact that these events have on the development of an artist’s perspective.

        After a series of preparatory sessions, students will examine news stories of interest, from disparate/contradictory news sources. The stories will be parsed for content, accuracy, and language. The goal is to create a judicious mind. (Graduates only)


      • 4 credits
        DRAMA H619-20 — Vibrant Traditions in American Theater
        4 credits Full Year Shana Komitee


        Vibrant Traditions in American Theater examines American theatrical heritage and tradition, and its relevance to current work in the field. Through readings, discussion, archival viewing, and guest speakers from the profession, students will explore a significant artist/era of work, and trace its influence. (Graduates only)


      • 2 credits
        DRAMA T617-8 — Prose and Poetry
        2 credits Full Year Faculty


        Prose: This course introduces the process of transforming written language into spoken language. Material covered includes a variety of historical styles in prose and verse, as well as fundamental issues of storytelling, rhetoric, and syntax. (Graduates only)

        Graduate Poetry: The focus of this course is to experience the craft of poetry as a reader, writer and presenter. Students will be reading the work of others, writing works of their own and sharing these works to their peers and to their Juilliard community. Students will be equipped with the ability to identify the major tools of the poetic craft in the analysis of text; articulate and discuss poetic works; compose original poems employing tools of the craft; accept criticism of both written and performed work; and revise your work as any artist would. (Graduates only)


    Total Credits 1st Year: 28

    • Acting Studies
      • 10 credits
        DRAMA 621-2 — Dramatic Interpretation II
        10 credits Full Year Faculty


        Developing Character through Masks: The mask is a powerful tool that enables the actor to free his/her instincts, impulses, and imagination. In this course students work with the neutral mask, animal mask, and character mask as they learn how to transform into different characters. The mask work teaches us how to communicate a truthful physical manifestation of a character’s inner state. Students explore the character’s physical, emotional, and psychological aspects in order to embody the life of the character. (Graduates only)

        Point of View II: In the second year of study, the material covered in POV is structured around a production being done in the fourth year of training. For instance, A Raisin in the Sun curriculum: The course constitutes an in-depth, semester-long exploration of the social, cultural, and political context surrounding the factors leading into and beyond the creation of A Raisin in the Sun and is meant to capture the interest surrounding the fourth-year students’ full production of the play. Sessions include a visit to the International Center of Photography’s exhibition of images related to the Civil Rights movement; readings from works by Abraham Lincoln, Martin Luther King Jr., Langston Hughes, et al; viewing and discussion of documentaries related to the Civil Rights movement (e.g., Free at Last: Civil Rights Heroes; Brother Outsider: The Life of Bayard Rustin; four CBS Sunday Morning segments — Paul Robeson, the Montgomery to Selma march, Maya Lin’s design of the Civil Rights memorial; Harlem Renaissance: Fats Waller, Duke Ellington, Count Basie, Nat King Cole; Baseball: A Film by Ken Burns: Inning 6—Jackie Robinson; Nightfighters: The Story of the 332nd Fighter Group, Tuskegee Airmen; Small Steps–Big Strides: The Black Experience in Hollywood; Amos and Andy; Nine from Little Rock; Been to the Mountaintop; The Songs Are Free: Bernice Johnson Reagon with Bill Moyers; Chisholm ’72: Unbought and Unbossed); discussion with African-American actors who worked with Lloyd Richards; presentation from, and discussion with, the outreach director of the Southern Poverty Law Center; a division-wide community meeting with Congressman John Lewis; and a discussion, with a CDC representative of the Tuskegee experiments. (Combined studies)

        Traditionally, the first project of the Second Year has been a project that the whole group participates in, with an emphasis on asking the students to characterize and find truth in extended transformations. (Combined studies)

        Rehearsal Projects II: Rehearsal projects are laboratory exercises for developing the actors’ process and a yardstick for measuring their ability to apply and integrate what they’ve learned in their classes. These projects also challenge the students to practice putting all that work on themselves into something larger than themselves: the creation together of the world of the play and bringing other peoples’ stories to life. (Combined studies)

        Traditionally, the first project of the Second Year has been a project that the whole group participates in, with an emphasis on asking the students to characterize and find truth in extended transformations.

        Scene Study II: The discovery and development of imaginative and technical skills which, together with the skills acquired in the first year will enable the student to discern the inner world of a play and to learn to transform into a living character within it. (Combined studies)

        Seminar in Masks Work: The challenge is to create, through the use of a given mask, the body, mind, and heart of an eccentric — often comedic — character. The change of physical identity involved breaks down inhibitions and serves not only to release the student’s imaginative capacity for transformation, but to prepare the way for equally courageous characterization without a mask. This class meets once a week as a whole group to explore the power of transformation in utilizing the wide variety of character and animal masks. (Combined studies)

        Seminar Physical Comedy: A workshop designed to help students overcome the anxiety that comes from a sense of obligation to be funny and to develop a comedic point of view. Improvisation in a variety of styles is developed with the class as an audience. Emphasis is on the need to approach comedic material with the same process and commitment appropriate to any other acting challenge. (Combined studies)


      • 8 credits
        DRAMA 623-4 — Dramatic Techniques II
        8 credits Full Year Faculty


        Dramatic Vocal Technique II: Advanced study of dramatic vocal technique through exploration of breath, tone, articulation, physiology, and sensation, which can sustain an efficient, healthy, and characterized use of voice over a long professional run of a play. A variety of techniques are used to develop the student’s vocal prowess to meet the expanded practical and aesthetic demands of classes, rehearsals, and performances. The work develops a sensitivity to rhythm and melody which allows for the expressive exploration of a variety of prose, verse, and musical styles. In this advanced work there is particular emphasis on the specificity of American diphthongs; length of sounds; balance of resonance; the use of strong and weak forms of articles, pronouns, conjunctions, prepositions, and auxiliary verbs; specific use of vowels to aid in the flow of American English; skills in analysis and effective, efficient use of Shakespeare’s verse and prose, and cultivating a process whereby an actor works in a foreign dialect. (Graduates only)

        Graduate Alexander Technique II: Second-year Alexander Technique emphasizes (1) an increasing attention to discerning and changing the mental, behavioral, emotional, and psychological patterns that underlie and reinforce the physical habits; and (2) the ability to use the Alexander Technique for character transformation. The deepening exploration of oneself moves from a review of the Alexander work of first year to an enhanced and increasingly specific thought process that links verbal direction (left brain) and image generation (right brain) to the desired physical response. The application of the Alexander Technique to different movement styles from contemporary to period is explored in relation to various rehearsal projects. Actors learn to create physicalities from simple to extreme that are artistically effective yet safe and free from tensions that might cause pain or physical injury. Selected readings and some research are required. In the second semester, actors are introduced to the Energy Work developed by Judith Leibowitz, which helps them deepen their sense of being present in the moment, and to the Character Energy Work, a way of taking the Alexander process into the realm of imagination to explore and embody inner rhythms, impulses, energies, and thought processes different from their own. Evaluation and feedback occur in the moment through hands-on work and observation by the teacher and are based on the student’s understanding of the process, use of self, and application in activity. Second-year Alexander Technique is taught in sections, with one or two individual sessions per semester. (Graduates only)

        Graduate Singing: This course is designed to help the actor release his/her voice and find deeper expressivity and truth through singing. To that end, we work on building a sense of physical and vocal awareness. We focus on elements of singing such as vocal placement, resonance, breath, relaxation, and posture. The actor also learns how to function and be expressive within the form of a song. To that extent, we work on the vocal, textual, and musical elements that go into a fully realized song performance. Each class includes a vocal warm-up and individual work on a song. (Graduates only)

        Movement II: A rigorous drill to increase stamina and the capacity for endurance; to develop physical coordination and naturalness; to coordinate movement with breath; to attain uninhibited physical expression through connection with inner rhythms, instincts, and emotions; to explore physical character transformations. (Combined studies)

        Music Studies II: This first-semester class picks up where the Music Studies I course ends, and continues with an exploration of music from Wagner to the present. In addition, there is an in-depth study of the history of songs with an emphasis on American songs: folk, theater, protest, and popular. (Combined studies)

        Singing Practicum: Emphasis on basic singing techniques of breath, extending vocal range through group singing, madrigals, chorales, and duets as well as individual songs. (Combined studies)

        Spectrum of Movement: A first-semester course involving study aimed at linking physical vocabulary to music, objects, culture, historical periods, gender, and theatrical styles. The learning incorporates the study of the full spectrum of movement from natural to un-natural, minimal to epic, controlled to full abandon, rustic to royal, low stakes to high stakes, etc. There will be occasional use of text. (Combined studies)


    • Drama Studies
      • 3 credits
        DRAMA S625 — Playwriting Techniques and Practices
        3 credits Fall Tanya Barfield


        Course will focus on basic understanding of Aristotelian dramatic structure. Students will also be exposed to alternative storytelling techniques and formal experimentation. Students will read a variety of plays and complete weekly playwriting assignments. Class time will be devoted to reading students' work aloud, in-class writing exercises, lecture, and discussion. The course will culminate in a first draft of a full-length play. (Graduates only)


      • 1 credit
        DRAMA T627 — Shakespeare Text I
        1 credit Fall Faculty


        Building on the skills developed in Prose and Poetry, this course introduces students to Shakespeare’s text and the particular demands of understanding and speaking it. Topics include the active and imaginative use of rhythm, meter, rhyme, and metaphor. (Graduates only)


      • 3 credits
        DRAMA S626 — Methodologies of Directing
        3 credits Spring Faculty


        During the second semester, students will explore the fundamentals of directing for the stage in order to gain insight into the role of the director and look at the processes directors go through in order to create a piece of theater from conception through rehearsal. Students will apply their skills in script analysis, establishing given circumstances, objectives and actions as a director by developing short theater works. (Graduates only)


    Total Credits 2nd Year: 25

    • Acting Studies
      • 10 credits
        DRAMA 631-2 — Dramatic Interpretation III
        10 credits Full Year Faculty


        Point of View III: Physical Style and Wit: The course introduces students to some of their artistic ancestors, with special emphasis on exponents of physical theater. During the semester, students are given introductory information on Commedia Dell’Arte and its stock characters as a scaffold-format for discussing comic tradition, scenarios, and improvisation. Sessions consist of screenings followed by discussion. Texts are used as necessary. Screenings include the Marx Brothers (A Night at the Opera), Mikhail Baryshnikov (A Little Ballet, Sinatra Suites, and Push Comes to Shove), Fred Astaire (and his influence on Michael Jackson), Eleanor Powell, Savion Glover, skanky leg, a PBS American Masters segment on Buster Keaton, and a 1954 (i.e., pre-Cultural Revolution) documentary on the Peking Opera. (Combined studies)

        Scene Study III: An integration of the technical, imaginative, and personal discoveries of the preceding two years through scene and exercise work, leading to meeting the demands of heightened characterization and style. (Combined studies)


      • 8 credits
        DRAMA 633-4 — Dramatic Techniques III
        8 credits Full Year Faculty


        Character in Motion: This second-semester class involves a series of assignments in character exploration and development. Etudes include "memorable character," "invented character," "observed character," "opposite character," "archetypes," "culturally bound," etc. All character studies are aimed at development of strong point of view in solo and relational forms of expression. (Combined studies)

        Dramatic Vocal Technique III: Focus is on vocal transformation through dialect, vocal dynamic, and vocal characterization. Heightened texts explore rhetoric, style, and stamina. Actors work individually, in sections, and in divisions with their teachers. Text work and evaluation includes political speeches, classic and contemporary monologues and scene work, and film and voiceover texts with a strong emphasis on dialect. (Graduates only)

        Four clusters or units of classes designed to integrate vocal skills into demanding, unfamiliar and highly stylized genres of text. These texts require students to work outside their personal dialect. A sophisticated attention to the precision of phonemes and a sophisticated use of vocal presence is needed to create the world of the play. The use of melody and pace is very important to the performance of these texts; advanced attention is given to building the argument of the text within the melodies of the given dialect. Cluster One: The literature will be Shavian, and/or drawn from satirical comedies by authors such as Noël Coward and Philip Barry. The pace of the language will require a great deal of dexterity. Much of the literature will require the use of British Received Pronunciation (RP). Cluster Two: Shakespeare. Cluster Three: Monologues from Restoration Comedies. Cluster Four: Comedy in the rhythm of dialogue.

        Graduate Alexander Technique III: Third-year Alexander Technique combines individual sessions and group classes. The 25-minute tutorials are assigned on a rotating basis: each student has a private lesson every two weeks. This allows each actor to deepen his or her understanding of the principles and processes of the technique and to address personal habitual patters of mind and body. Chair work, table work, movement activity work, and character work are all addressed in the individuals. The group classes bring students together to review techniques and introduce new procedures related to performance projects. (Graduates only)

        Individual Graduate Voice Instruction: Actors work in individual sessions with teachers to target challenges that might include dialect, transformation, production demands, and audition material. (Graduates only)

        Jazz Dance: A second-semester course to help achieve complete physical freedom, enhance enjoyment of the body in motion, and find a fuller expression of sensuality. (Combined studies)

        Makeup Techniques for Performance: This class teaches fundamental corrective and character makeup techniques for the modern stage performer. It focuses on developing essential makeup vocabulary, tools, and technique to empower the performer with the skills necessary for full character creation. (Graduates only)

        Movement III: A physical acting lab focusing on the development and enrichment of a physically expressive vocabulary using texts and individual imaginative resources. Using exercises and skills learned during the first and second years, students will structure a warm-up routine and continue with exercises that enable a strong connection with both a partner and the group. (Combined studies)

        Singing for Performance I: Focus on individual and group coaching geared to an actor based on performance, audition or personal need. (Combined studies)

        Suzuki Method: Developed by internationally-acclaimed director Tadashi Suzuki, the Suzuki Training Method is a rigorous physical discipline drawn from such diverse influences as ballet, traditional Greek and Japanese theater, and martial arts. The training seeks to heighten the actor’s emotional and physical power and commitment to each moment on stage. Attention is on the lower body and a vocabulary of footwork, sharpening an actor’s breath control and concentration. This course meets in the first semester. (Combined studies)


    • Drama Studies
      • 2 credits
        DRAMA S637 — Elements of Production and Design
        2 credits Fall Faculty


        Students focus on the design and technical production aspects of theater. They will examine elements of design and collaborative work that happens between directors and design team in the preproduction phase, throughout the rehearsal process, technical rehearsal, and during the run of the show. Whenever possible, throughout the semester, directors, designers, and other members of the production team will be brought in to talk about their process. (Graduates only)


      • 2 credits
        DRAMA S638 — Pedagogy of Drama
        2 credits Spring Faculty


        Students will explore the techniques and theory of drama pedagogy today, providing insight into the teaching of theatre as well as the use of drama work in education and outreach settings. (Graduates only)


      • 1 credit
        DRAMA T639 — Shakespeare Text II
        1 credit Spring Faculty


        This course provides students with techniques for uniting the technical demands of speaking Shakespeare’s language with the imaginative and emotional demands of acting. (Graduates only)


    • Performance Projects
      • 4 credits
        DRAMA P635-6 — Performance Projects I
        4 credits Full Year Faculty and Guest Directors


        Graduates and undergraduates in their third year work together in a variety of performance projects:

        Modern Naturalism Performance Project (Fall)
        Play projects continue to be an integral part of the student's training, but emphasis in the third year shifts from the laboratory to the theater, with the addition of costume, make up, lighting, music, and some scenery. Four to five productions are mounted including one designed for two weeks of performances for intermediate and high-school student audiences, produced in association with Lincoln Center Theater Open Stages program. Other plays range from classical to contemporary and are open to an invited public.

        After having worked for the first two years on plays in rehearsal studios with the emphasis on exploration and integrating skills, students in their 3rd Year of training move into the theater, begin to work with limited elements of production, and learn how process culminates in performance.

        Heightened World Performance Project (Fall)
        In the second project of the Third Year students work on theatrical pieces that demand of the actor's heightened physical and vocal expression and extreme characterization. Plays are selected which will ask the actor to explore these new performance elements, stretch their instruments to their fullest capacity and expand their notion of truth on stage beyond the bounds of naturalism.

        The Cabaret (Spring)
        As part of their actor training, the students study singing and song performance beginning in their second year. In singing, the actor is forced to confront him/herself in a heightened and personal way. The demands of singing call on the actor to integrate all the techniques (voice, speech, movement, Alexander and acting) he/she learns in the school. This project is an opportunity to take what the actor learns in the classroom and put it on the stage.

        Shakespeare Repertory (Spring)
        As a culmination to their third year of training, students move from the black box studio 301 to work for the first time in the Drama Theater, traditionally performing two classical plays of Shakespeare presented in repertory.

        The Shakespearean Rep immerses the student in the work of this great author; his plays call upon all aspects of their training and all their resources, technical and personal. Award-winning set designer Christine Jones' modern Shakespearean Globe set creates a completely flexible space, allowing Shakespeare to be presented in any period for this annual event.


    Total Credits 3rd Year: 27

    • Acting Studies
      • 10 credits
        DRAMA 641-2 — Dramatic Interpretation IV
        10 credits Full Year Faculty


        Actor Presentations: In preparation for graduation, the students meet on a weekly basis with a faculty member to prepare scenes, monologues, and songs which will be combined to create an hour-long showcase which will be presented to industry members in both Los Angeles and New York. The goal of the showcase event is to give industry members a 4 to 5 minute introduction to each of the students through the presentation of these materials. Through this event, students are able to make connections with industry members and often land auditions for theater, film, and television as well as gaining representation from an agent or manager. The Drama Division has enjoyed a 100 percent placement rate for students with agents and managers upon graduation every year. (Combined studies)

        Audition Workshops: The fourth year of study culminates in a professional studio experience where students will be immersed in performance and professional classes. These opportunities provide a bridge to the profession as students study with working professionals who provide them with the knowledge and skills necessary to transition into the industry. (Combined studies)

        Point of View IV: POV in the fourth year focuses on Audition Techniques in order to prepare the actors for their move into the professional world. Advice and techniques for effective selection and presentation of audition material for the stage and for the camera are given, and mock auditions with members of the profession are done throughout the year. (Combined studies)


      • 8 credits
        DRAMA 643-4 — Dramatic Techniques IV
        8 credits Full Year Faculty


        Graduate Alexander Individuals: The Alexander Technique is a mind-body method for becoming aware of and changing habits. The goals of the Alexander Technique in the training of actors are (1) to eliminate any unnecessary physical and mental tensions and habitual patterns of misuse that interfere with the free flow of thought, imagination, physical movement, and impulse; (2) to develop enhanced postural support (poise) and easeful movement skills; and (3) to assist in the development of a conscious repeatable process that allows for energized availability in the moment and the ability to transform. (Graduates only)

        Alexander Technique in the fourth year focuses on the continuing development of each student personally and artistically as they deepen their self-awareness, self-knowledge, and poise using the Alexander principles and process. Teaching is in the form of individual tutorials and group sessions of 2 -3 students. Students are encouraged to develop a continuing spirit of investigation and master techniques for achieving readiness in the moment, for clearing out, for dealing with stress and anxiety, for taking a centered presence into the world. Character transformation work continues for the fourth year performance season.

        Individual Graduate Voice Instruction: Actors work in individual sessions with teachers to target challenges that might include dialect, transformation, production demands, and audition material. (Graduates only)

        Movement IV: Stretching, relaxation, focus and energizing through breathing exercises. Physical improvisations are utilized, addressing the needs of the specific play being worked on, and carrying the creativity into rehearsal. (Combined studies)

        Singing for Performance II: Individual lessons as required for specific productions and solo coaching leading toward audition material. (Combined studies)


    • Drama Studies
      • 2 credits
        DRAMA H649 — American Theater Landscape
        2 credits Fall Faculty


        Students explore the history and current offerings of New York, and regional theaters. Students examine plays (from a dramaturgical viewpoint), meet guest speakers, and see productions, thereby gaining wide exposure to New York City theater, as well as a solid understanding of the regional theater network.

        Each week students will study the regional theater movement during a select time period, focusing on the history and contributions of one or two influential theaters of that time. Small groups of students will be assigned to research one theater, play, or playwright connected with each time period and present materials to the class. When applicable, students will also examine a current play being produced at that theater from a dramaturgical viewpoint, exploring its historical context as well as its relevance today. (Graduates only)


    • Performance Projects
      • 4 credits
        DRAMA P645-6 — Performance Projects II
        4 credits Full Year Faculty and Guest Directors


        Graduates and undergraduates in their fourth year work together in a variety of performance projects:

        Playwrights Festival (Fall)
        The Juilliard School Drama Division, as an essential part of its training program, brings together young actors and writers in class, play labs, workshops and productions. Working together, both playwright and actor learn what their roles are in creating new work.

        We believe that in addition to performing the classics in a contemporary spirit Juilliard actors should be prepared to work on new plays as a major part of his or her artistic growth. The Juilliard Playwrights Festival of workshop productions is an annual event for the graduating class, giving them a further opportunity to develop new work and advance collaborations and connections that will expand beyond their time here in school.

        Stephanie P. McClelland Season (Fall)
        The fourth year is a performance year in which plays are given full-scale productions. In the fall semester, three plays are produced and mounted for six performances before an invited audience of the general public and members of the theatrical profession.

        Fourth-Year Repertory (Spring)
        The culmination of the student's performance training is the Spring Repertory. During this time three productions are performed in rotation so a different production is on stage each night throughout the performance period. This rigorous schedule and structure immerses the students in performance allowing them to utilize all the skills and knowledge obtained during their education in the Drama Division.


      • 6 credits
        DRAMA P647-8 — Bridging the Profession
        6 credits Full Year Guest Artists


        Graduates and undergraduates in their fourth year prepare for their launch into the profession through a series of classes/workshops that explore a variety of practical aspects of the business – casting, auditioning, on-camera work, producing reels, etc. In addition, students learn practical skills for career development, from writing resumes and cover letters, to understanding actor contracts and gaining information on different types of support available to them as artists. (Combined studies)



    Total Credits 4th Year: 30


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