To pull out Klytaimestra’s gut-fueled desire for justice/revenge, the Greek and Tribal Acting techniques I used with Nisarah were based on actively connecting her body sections and even her organs to her voice of power.
Tea Algeric, as director, and I, as movement coach in the production of AGAMEMNON by AESCHYLUS, translation by Ann Carlson. Costumes by Becky Bodurtha. Photo by Gerry Goodstein. Klytaimestra: Nisarah Lewis
Tea Algeric, as director, and I, as movement coach in the production of AGAMEMNON by AESCHYLUS, translation by Ann Carlson. Costumes by Becky Bodurtha. Photo by Gerry Goodstein. Kassandra: Moira McAuliffe
Kassandra was on stage for much of the play without a word to say to establish her presence. Using techniques I’ve adapted from ancient sources, I coached her to listen with her entire body using breath and unique images as a way to communicate with the audience.
As our class together ends, many of you are wondering,
“Creating Theater and Acting was amazing to me. What can I do now?” read more
Playwrights, Actors, Directors, Designers -Final Presentations
International Group Inspired to
* Direct, design and act in not one, but two scenes. Chosen from the pile of scripts they also wrote in the workshop
* Express their own stories
* Discuss 6 New York Theater productions as models
* Solve problems in moving from a thought to a theatrical living moment
* Know 23 other people in ways deeper than
“that guy who sits across from me in class.”
Fordham Playwrights in #ReWriteWeekend
At the end of a four-day cyber-writing and revision event, 23 new scenes and their writers gather to read what’s landed on their pages. Over the next 6 weeks scenes are cast, directed and performed. Feed-backs, talk-backs, throw-backs ensue. Fordham University. Party to come.
These are the faces of the Acting Class at Fordham University Spring 2014. Working on a variety of choices found in powerful scenes from “Lydia” by Octavio Solis, and 410[GONE] by Frances Ya-Chu Cowhig.
Christine Sang’s Choreography, Open Fist Theater Company, James Joyce’s The Dead
This shows one of the Irish dance sets I adapted as the choreography for The Open Fist Theater Company’s production of Joyce’s “The Dead.” It’s a six-hand jig, which is just that – a dance for six people. Which translates into multitudes of multiples of 6 possible combinations: a choreographer’s dream.
“WAKE THE DEAD” FROM JAMES JOYCE’S THE DEAD.
CHOREOGRAPHER: SANG. PHOTOGRAPHER: ERIC GUTIERREZ.
James Joyce’s THE DEAD, opening Jan 18, 2014.
James Joyce’s THE DEAD Cast, Dress Rehearsal
Dress Rehearsal, with Rob Nagle and Cast, The Dead
The moving, haunting, beautiful theater that James Joyce’s The Dead evokes will be playing again, mid-January, Los Angeles. Originally directed by Charles Otte, Jessica Kubzansky, of the famed Boston Court, will be recreating the OFTC remounting of this haunting play. I’m so pleased to add my choreography once again to this beautiful piece.
OFTC James Joyce’s The Dead, choreography by Christine Sang