Guest Master Teachers in 2014: Dody DiSanto & Tina Mitchell!

Dody DiSanto (Neutral Mask) MARCH 29-30

The neutral mask is a tool, addressing the inherent dynamic wisdom of the body as a vehicle to find freedom, awareness and expression in performance.
Working with the idea of spatial awareness, the mask is used to eliminate superfluous action and to distill movement down to essential rhythms.
When we say neutral, we mean ready.
The neutral mask is actually a full-face mask that you wear through a series of exercises. The mask engages a large space and beckons you to expand your presence. It encourages clarity of movement, a greater command of stillness, and provides a clear slate upon which we inscribe character.
It pushes us to our growing edge, guides us into a dialogue with our habits and arrives at the truth through essential gesture.
Working with THE NEUTRAL MASK will:
broaden your play
heighten your spatial awareness
free your body to respond without the control of the mind
support and develop your physical abilities
There are 3 masks:
the one we think we are,
the one we really are,
and the one we hold in common.

Dody was trained in Paris, holding an esteemed position as a teaching protégé of the late Jacques Lecoq whose teachings she carries on at the Center for Movement Theatre. She is currently on the faculties of the Academy for Classical Acting for the Shakespeare Theatre at the George Washington University and at The Catholic University of America teaching neutral mask and clown; and has served as a recent guest teacher at Cirque du Soleil and Yale School of Drama.

Tina Mitchell (Viewpoints and Suzuki) MAY 24-25

This weekend workshop will introduce participants to a dynamic approach to acting that engages the entire body and not just the mind. This physical actor training will provide performers with an exciting approach to acting and stagecraft. The focus will be on strengthening physical and vocal control, cultivating specificity and clarity of physical intention and action, and making bold and inspired choices in the moment. This practical workshop will equip beginners with an understanding of the basic principles of Viewpoints and The Suzuki Method of Actor Training and their use in performance. Explore a different approach to acting that will deepen your craft. Participants should be in good health and come with a mental and physical commitment to training.

Tina has trained extensively with the SITI Company in New York as well as with the Suzuki Company of Toga in Japan. A graduate of the Adelaide Centre for the Arts she is co-Artistic Director of Chopt Logic.

As a performer her credits include: Macbeth (Southwest Shakespeare), Sleep No More (Punchdrunk NYC), The Event of A Thread (SITI Company), Mata Hari – The Great Imitator (HERE Arts), Miss Julia (Casa Ensamble, Bogota), The Taming of the Shrew (US Tour), Cyrano de Bergerac (US Tour), Manon/Sandra (The Theory of Everything UK/New York Fringe), When the Rain Stops Falling (Stella Adler NYC)The Three Sisters (Columbia University New York) The Bruised Hearts Travelling Freak Show, The Most Massive Woman Wins, The Maids, Amadeus, A Midsummer Nights Dream and Decadence all for Chopt Logic Australia, The Glass Menagerie (Bakehouse Theatre), Much Ado About Nothing and A Midsummer Night’s Dream (Lightning Strike).

Her work as a director includes; Live Fish (Adelaide Fringe INSPACE award nomination 2010), Odyssey Schmodessey (New York Clown Festival) Schmoove Operator(Adelaide Cabaret Fringe/Adelaide Fringe 2010), One Step Forward (Helpmann Academy) mentoring director Adelaide Centre for the Arts 2009/10, director Upstart (Adelaide Fringe 2010), co-director on Autobahn (Junglebean 2009). She has worked as an assistant director for companies across the world including La Fura dels Baus and the English National Opera, SITI Company, Brooklyn Philharmonic and the State Theatre Company of South Australia.
Tina has taught Suzuki and Viewpoints in Australia, the US and Colombia, South America.

Email or use the contact us feature for more info!