Fall 2024
Introduction to Acting
Remo Airaldi AB, Lecturer on Theater, Dance, and Media, Harvard University
Through individual and group exercises, monologues, improvisations, and scene studies, this workshop eclectic in method helps students develop their acting potential and sharpen their performing skills. Previous theater study is not required. Students may only take DRAM E-10 or DRAM E-10a and DRAM E-10b for degree or certificate credit.
January 2025
Introduction to Acting
Remo Airaldi AB, Lecturer on Theater, Dance, and Media, Harvard University
Through individual and group exercises, monologues, improvisations, and scene studies, this workshop eclectic in method helps students develop their acting potential and sharpen their performing skills. Previous theater study is not required. Students may only take DRAM E-10 or DRAM E-10a and DRAM E-10b for degree or certificate credit.
Fall 2024
Introduction to Acting I
Remo Airaldi AB, Lecturer on Theater, Dance, and Media, Harvard University
Through individual and group exercises, monologues, and improvisations, this active learning weekend helps students develop their acting potential and sharpen their performing skills. Previous theater study is not required. Students may only take DRAM E-10 or DRAM E-10a and DRAM E-10b for degree or certificate credit.
Spring 2025
Introduction to Acting II
Remo Airaldi AB, Lecturer on Theater, Dance, and Media, Harvard University
Through individual and group exercises, monologues, and improvisations, this active learning weekend helps students develop their acting potential and sharpen their performing skills. Previous theater study is not required. Students may only take DRAM E-10 or DRAM E-10a and DRAM E-10b for degree or certificate credit.
Prerequisites: Students must have earned a grade of satisfactory in DRAM E-10a to enroll in this course.
Spring 2025
Acting Shakespeare
Remo Airaldi AB, Lecturer on Theater, Dance, and Media, Harvard University
This course is an intensive study of Shakespeare's dramatic works from the point of view of the actor. It is important to remember that Shakespeare's verse dramas were written to be performed and that only when they are approached this way as playable, theatrical texts do they have their maximum impact. Through text analysis, scene study, vocal work, and acting exercises we attempt to find, not only the meaning, but the music and theatrical power of Shakespeare's words. We spend a great deal of class time discussing blank verse and the different techniques for speaking it out loud and work to develop the end-of-line breath support needed to perform this language. We also study such topics as scansion, phrasing, word emphasis, antithesis, and imagery.
Fall 2024
Improvisational Acting
John Kuntz MA, Lecturer on Theater, Dance, and Media, Harvard University and Associate Professor of Theater, Boston Conservatory at Berklee
This course is designed not only for students of the theater, but also for those with an interest in politics and debate, public speaking, trial law, and education, as well as a broad range of other careers. Students explore various improvisational techniques that fuse intellect, imagination, voice, and body. Students may only take DRAM E-21 or DRAM E-21a and DRAM E-21b for degree or certificate credit.
Spring 2025
Improvisational Acting
John Kuntz MA, Lecturer on Theater, Dance, and Media, Harvard University and Associate Professor of Theater, Boston Conservatory at Berklee
This course is designed not only for students of the theater, but also for those with an interest in politics and debate, public speaking, trial law, and education, as well as a broad range of other careers. Students explore various improvisational techniques that fuse intellect, imagination, voice, and body. Students may only take DRAM E-21 or DRAM E-21a and DRAM E-21b for degree or certificate credit.
Fall 2024
Improvisational Acting I
John Kuntz MA, Lecturer on Theater, Dance, and Media, Harvard University and Associate Professor of Theater, Boston Conservatory at Berklee
This course is designed not only for students of the theater, but also for those with an interest in politics and debate, public speaking, trial law, and education, as well as a broad range of other careers. Students explore various improvisational techniques that fuse intellect, humor, imagination, voice, and body. Students may only take DRAM E-21 or DRAM E-21a and DRAM E-21b for degree or certificate credit.
Spring 2025
Improvisational Acting II
John Kuntz MA, Lecturer on Theater, Dance, and Media, Harvard University and Associate Professor of Theater, Boston Conservatory at Berklee
In this course, students work on physical and vocal invention, exploring the many ways and styles in which dynamic and compelling stories can be told. We aim to heighten imagination and observation, build confidence, and enhance extemporaneous speech and thought through exercises, exploring impulses, and imaginative courage. Techniques used include both individual and group activities, Grotowski and Spolin exercises, and Viewpoints. This course is designed not only for students of the theater, but also for those with an interest in politics and debate, public speaking, trial law, and education, as well as a broad range of other careers. Students explore various improvisational techniques that fuse intellect, imagination, voice, and body. Students may only take DRAM E-21 or DRAM E-21a and DRAM E-21b for degree or certificate credit.
Prerequisites: Students must have earned a grade of satisfactory in DRAM E-21a to enroll in this course.
Fall 2024
Great Collaborators: The Music and Lyrics of Broadway's Famous Songwriting Teams
Pamela J. Murray MusM, Performance Faculty, Voice, Musical Theater Cabaret Ensemble, Boston College
Some of the greatest Broadway musicals of all time were written by songwriting teams. From Richard Rodgers and Oscar Hammerstein or Rodgers and Lorenz Hart to Alan Jay Lerner and Frederick Lowe, John Kander and Fred Ebb, and Lynn Ahrens and Stephen Flaherty, these writers collaborated almost exclusively with one another and created new kinds of storytelling for stage and screen. Their signature styles are unmistakable and have earned them their places in the history of Broadway. In this course we focus on studying and performing songs from shows written by these duos. In addition to preparing a song both vocally and dramatically, each student gives a final presentation including biographical information about the writers, as well as sharing research on their method of collaboration.
Prerequisites: Willingness to sing in front of the class.
Spring 2025
Script and Score: The Intersection of Story and Song
Wesley Verge MFA - Pamela J. Murray MusM, Performance Faculty, Voice, Musical Theater Cabaret Ensemble, Boston College
This intermediate to advanced performance course explores how singing and acting intersect in musical theater. It develops the singer-actor as an interpreter of song using a variety of musical theater vocal styles. Students work to develop a flexible, expressive vocal instrument while also meeting the challenge of singing in harmony with a scene partner. The script and score analysis portion of the course develops musicianship and refinement in performance, combining vocal and acting skills with character development in musical play scene work, including dialogue. Students hone their acting skills through improvisational ensemble work and individualized coaching. They grow in their capacity as singers and actors while also developing a deeper understanding of the processes involved in being a musical theater performer. Scenes are chosen from a variety of eras and styles, and each student learns two contrasting numbers.
Prerequisites: Previous acting and singing courses or equivalent practical experience, or permission of the instructors.
Spring 2025
Directing for the Screen
Catherine Eaton MFA, Director and Writer
Have you ever wanted to explore film directing, but haven't known where to begin? In this course, students learn the core elements of directing fiction films, including everything from pre-production, to learning where to put the camera, to working with actors. Students learn how to break down scripts to find and develop a strong directorial point of view (POV) and gain the tools to create an intelligent shot-list and shot-diagram. The course covers various methods to work with and direct actors, and how to identify crew positions and learn how to assemble a crew. Additionally, we cover things like how to prepare for a shoot, expectations on set, and how to protect your creative process throughout the experience of making a fiction film. Sessions include presentations, discussions, scene analysis from various films (looking at camera set-ups, objectives, and directorial POV), interactive exercises, a case study, and shooting and presenting scenes to the class. Please note: this course does not cover the technical use of film cameras, lighting, or audio equipment. Scene exercises may be shot on whatever video camera each student has access to, such as a smartphone or other device, as equipment cannot be provided.
Prerequisites: In order to complete certain course exercises, all students must have use of a cell phone or other camera equipment that shoots video (most modern cell phones fulfill this remit). Students must also have access to simple editing software. Examples are iMovie, Windows Movie Maker, or Openshot (which can be downloaded for free), among others. Editing requirements are very simple, so experience with the software should not be a barrier. If you have any questions or concerns about these requirements, please contact the instructor.