Designed to prepare performance specialists to work across boundaries in theatre, music and dance
Candidates on the certificate course will complete two six-day Intensives 12 months apart, focusing on an integrative curriculum, along with individually designed modules, over a 12-month period.
Although "interdisciplinary" has become an international buzz word, separate trainings remain the norm in the US and in most other parts of the world. Yet the value to students in a more comprehensive approach can be enormous, as singers, actors and dancers seek to diversify skills, work across media, and access multiple styles.
For voice teachers, the biggest gap in both singing and acting training is typically that between voice and dance. Therefore, dance pedagogies figure prominently in the certificate course.
For dance teachers and choreographers, it is equally essential to understand the training backgrounds of actors and singers in order to ensure movement is sympathetically created to encompass vocal requirements. Therefore, voice and acting pedagogies are integral to the curriculum.
While participants will not be expected to develop advanced skills in all areas, they should come out with an awareness of the physical requirements and technical language of related disciplines, and enough practical experience to communicate across boundaries.
SIX-DAY INTENSIVE 2014, Pearl Studios, NYC
July 15 – 21 (one day off), 2014
Four 90-minute sessions each day, with master classes in the evening:
- Voice (including singing)/Movement Integration
- Speech/Dialects; Prose/Poetic/Dramatic Text
- Basic Dance Techniques; Voice/Dance Integration
Evening classes include:
- Integrative Research
- Movement Analysis
- Performance Coaching
Day off from classes, July 18, to allow for One-on-One Sessions with Faculty
Each participant will devise a personal and approved curriculum of work to be documented and completed by July 2015, e.g., taking regular singing lessons, learning to read music, taking an acting course or a dance course, doing a research project.
TUTORIALS VIA EMAIL AND SKYPE
Course Leaders are available for email discussions throughout the year, and for up to three Skype sessions each.
SIX-DAY INTENSIVE 2015
Each participant will lead two approved sessions focusing on new and integrative work, followed by brief discussion with faculty and colleagues and a follow-up conference with course leaders.
Guest Faculty—to be announced spring 2015—will present master classes throughout the week.
Once registration is completed (deadline May 15, 2014), participants will receive a list of recommended and required reading.
QUESTIONS AND ADDITIONAL INFORMATION
Application for the Certificate Course 2014 - 2015 should include a Personal Statement addressing the following questions, along with a brief CV:
- What, specifically, would you like to be able to do as a result of completing the course?
- What are your strengths as a performer, teacher, coach, and/or therapist?
- What areas do you want to explore and/or strengthen—e.g., musicianship, acting (training/experience), knowledge of anatomy/physiology, speech/dialects, basic dance terminology, vocal coaching in a variety of venues, experience with classical text?
- What do you see yourself doing in 10 years, as a result of your ability to work in a more integrative way?
Please send application materials to Joan Melton at email@example.com.
TUITION $2500: $1250 by May 15, 2014, balance due by May 15, 2015
No tuition refund after June 15, 2014.
Joan Melton, PhD, ADVS, is a pioneer in the integration of singing techniques and voice/movement training for the actor. The author of two major textbooks, One Voice: Integrating Singing and Theatre Voice Techniques, with Kenneth Tom, PhD (2nd ed., Waveland 2012), and Singing in Musical Theatre: The Training of Singers and Actors (Allworth 2007), she has worked as a performer, composer, voice coach and/or music director on productions in virtually all media. She has taught at leading centers of drama and music in the US, UK, Ireland, Australia, and NZ, and currently heads major research projects in the US and Australia. Visit her website at www.joanmelton.com
Jennie Morton, BSc (Hons), Osteopathy, began her career as a ballet dancer before moving into musical theatre and continues to sing professionally. She is now an osteopath specializing in treating performers at The British Association for Performing Arts Medicine in London. Jennie assisted in creating the syllabus for the MSc Performing Arts Medicine at University College, London where she is an Honorary Lecturer. She provides lectures and workshops internationally for performers, students, teachers and medical professionals on healthy practice for performing artists and has developed a new training program for voice and dance technique integration for musical theatre. Jennie is the founder of www.healthyperformers.com.
GUEST FACULTY 2014
Rusty Curcio, CMA, RSMT, RSME, is a Certified Movement Analyst in the Laban/Bartenieff System of Movement Studies. He toured internationally with Les Ballets Trockadero de Monte Carlo for nine years, was with Les Ballet Grandiva de Russia for two seasons, and performed in New York with Peridance Dance Ensemble and Acanthus Ballet Company. Rusty is an award-winning director and choreographer, works regularly in musical theatre, and heads the dance program at Wagner College, New York, City.
William F. Lett holds an MFA in Dance from California State University Long Beach, and a BFA in Musical Theatre from the University of Arizona. He trained at the EPCOT Institute of Entertainment Arts, the Academy of Dance on Film, and the Goodsell Grande Institute for the Arts and Humanities. As a performer, Bill has worked in regional theatre, civic light opera, TV, voiceover, and film, including work for CBS, NBC, Touchstone Pictures, and the Walt Disney Company. He is a Master Clinician for Disney Performing Arts, and a Senior Lecturer in Musical Theatre and Dance at California State University Fullerton.
Kenneth Tom, PhD, is Associate Professor of Communicative Disorders in the Department of Human Communications Studies, California State University Fullerton. He trained in vocal performance at the New England Conservatory, Boston, and received his doctorate in Speech and Hearing Sciences from the University of Iowa. His current teaching and research focus on performance voice, voice acoustics, and physiology. He is a yoga practitioner certified by the American Viniyoga Institute, and has taught workshops on the use of adapted yoga techniques in voice therapy and singing. Kenneth is co-author, with Joan Melton, of One Voice: Integrating Singing and Theatre Voice Techniques (2nd ed. Waveland 2012).
Pat Wilson is a singer, pianist, actress, vocal coach and teacher, author, composer/lyricist, and music director in theatre. She holds a Master of Applied Science from the University of Sydney, has international research publications in both monographs and professional journals, and was part of the development team for the unique singers’ software, Sing&See. She lectures internationally, teaches at drama schools and conservatoria in Australia, New Zealand and the UK, and is a vocal coach for the acclaimed children’s television show Hi-5. Pat is the author of The Singing Voice: An Owner’s Manual (2nd Ed, Lazy O’Rhinus Press 2013) and co-author with Dr. Jean Callaghan of How to Sing and See: Singing Pedagogy in the Digital Era (Cantare Systems).