Communicating across boundaries, through research, integrative pedagogies, and practical training
To book courses in the US and abroad, please contact Joan Melton at firstname.lastname@example.org.
Joan Melton, Voice/Movement Research and Training, Director of Programs
Jennie Morton, Anatomy/Physiology, Voice and Dance Technique Integration
Irene Bartlett, Jazz/Contemporary Pedagogy
Janet Feindel, Voice/Dialects and Alexander Technique
Wendy LeBorgne, Professional Voice Care
William Lett, Tap/Voice for Musical Theatre
Marya Lowry, Roy Hart/Ecstatic Voice/Lamentation
Michael Lugering, Expressive Actor Training
Patricia Prunty, Classical Singing Techniques
Mary Saunders-Barton, Singing in Musical Theatre
Neil Semer, Vocal Technique and Performance Practice
Kenneth Tom, Vocal Anatomy/Physiology
Pat Wilson, Studio Work/Mic Technique
Julio Agustin (Hons), US
Zac Bradford (Hons), Australia/US
I Putu Budiawan (Hons), Australia
Sammi Grant, (Hons), US
James Harrison (Hons), Australia
Robert Lewis (Hons), Australia
Maggie Marino-Pitts (Hons), US
Erica Northcott, Canada
Sara Paar, US
Elizabeth Smith, US
Jennifer Spencer (Hons), Canada
Caitlyn Stirling, Australia
Janet Van Wess, US
Jack Wallace (Hons), England/US
JULIO AGUSTIN, Director/Choreographer
Julio Agustin has conceived and written the libretto for Out of Line, a new musical with music and lyrics by John Franceschina, which premiered October 17 – 21, 2017 at James Madison University’s School of Theatre and Dance and School of Music, in Virginia. Out of Line picks up where A Chorus Line left off, providing a humorous and compelling look at the lives of six successful Broadway performers as they struggle to make their way out of the chorus.
In April 2018, Julio will be directing Ruling the Great White Way, an evening with Hal Prince, at the Forbes Center for the Performing Arts in Harrisonburg, Virginia (http://www.eventdaddy.net/harrisonburg/apr-6-evening-with-broadway-legen...).
Julio is an Associate Professor of Musical Theatre at James Madison University, and runs The Transition Workshop, a monthly audition studio, in New York City (www.julioagustin.com)
Julio Agustin (Matos, Jr.) weaves together the musical comedy from interviews with 25 Broadway “gypsies,” who shared their hopes, fears, career pressures, and thoughts on the ins-and-outs of the industry. The production features students from JMU’s School of Theatre and Dance and School of Music.
Perspective – excerpts from “Integrative Links,” by Joan Melton
Voice & Speech Review 2013
Even in integrated programs, there is seldom the opportunity or incentive to really listen to experts outside our own respective field(s). The only people who must listen across disciplines are our students, who regularly take classes in dance (e.g., ballet, tap, modern, jazz), voice/movement for the actor, singing (e.g., classical, musical theatre, jazz, pop, rock) and acting. And the potential for conflict in all of that is enormous!
At the most basic level, what seems to separate us clearly in the training process is our concept of anatomy and physiology…Acting curricula probably come nearer to putting it all together than either singing or dance. Yet, even from actor training, students more often than not emerge thinking the diaphragm is something in their belly that they’re supposed to use—consciously—somehow.
Jennie Morton said, “A better anatomical understanding amongst both performers and teachers can ultimately give them better tools to work with…”
In addition, it takes getting out of our own little corner to see the links from one discipline to another. Long-held views can change—and that’s scary—and what is “true” today may be only partly true or transformed tomorrow. So we must be daring. We must actually listen to colleagues, address the information gaps, and follow threads we never before considered—because staying put is simply not an option.
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