Acting in Greek Drama

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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

Theater Workshop @ Fordham University, Final Day

Fordham Playwrights, Actors, Directors, Designers - Final Presentations

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.”