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Speaking of Heightened Language in Contemporary Plays
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I would like to propose a multidisciplinary panel/workshop at the upcoming ATHE conference in Montreal, involving performance (Acting) with speech/voice pedagogy (VASTA). In brief, my work focuses on the Speaking of Heightened Language in Contemporary Plays. At UMass, I have been developing a system of actor training that freely adapts classical techniques of rhetoric and applies them to verbally adventurous contemporary plays (e.g., from Tom Stoppard to Suzan-Lori Parks). In this way, actors develop verbal "chops" (as jazz musicians used to say) for high-octane contemporary texts, as they come to see that it is not just Shakespeare that requires verbal muscle. So, to summarize, I would like to propose a workshop that features the speaking of heightened language in contemporary plays and how actors can borrow techniques from the classical arena to power their speaking. I would welcome any similar or like-minded partners in this enterprise. Milan Dragicevich Associate Professor/

 

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Speaking of Heightened Language in Contemporary Plays.

Posted By Siobhan M. Bremer, University of Minnesota-Morris, Monday, October 27, 2014
I would like to propose a multidisciplinary panel/workshop at the upcoming ATHE conference in Montreal, involving performance (Acting) with speech/voice pedagogy (VASTA). In brief, my work focuses on the Speaking of Heightened Language in Contemporary Plays. At UMass, I have been developing a system of actor training that freely adapts classical techniques of rhetoric and applies them to verbally adventurous contemporary plays (e.g., from Tom Stoppard to Suzan-Lori Parks). In this way, actors develop verbal "chops" (as jazz musicians used to say) for high-octane contemporary texts, as they come to see that it is not just Shakespeare that requires verbal muscle. So, to summarize, I would like to propose a workshop that features the speaking of heightened language in contemporary plays and how actors can borrow techniques from the classical arena to power their speaking. I would welcome any similar or like-minded partners in this enterprise. Milan Dragicevich Associate Professor. So, to summarize, I would like to propose a workshop that features the speaking of heightened language in contemporary plays and how actors can borrow techniques from the classical arena to power their speaking. Here is my email:   miland@theater.umass.edu

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