All stage performers must strike a balance between ‘head’ work and physical theatre, but the main trick may be not to see them as separate.
Carrie Coon, Crystal Dickinson, Maria Dizzia, Daniel Duque-Estrada, Stephen McKinley Henderson, and Jon Norman Schneider talk training, acting process, and the mind/body connection.
The writer shares her experience of spending 10 months in Blue Lake, Calif., at the Dell’Arte International School of Physical Theatre.
How circus arts companies are training artists to become both actors and acrobats.
Theatre companies and training programs are incorporating physical acting training to strengthen ensembles and improve performance.
In the final installment of this follow-up with the Harvard acting class of 1995, former colleagues find meaning on and off the stage, together and apart.
As young actors at Harvard, they formed a kind of de facto theatre company. Then they hit the pavement in New York. Here’s the story of their last 20 years.
Theatre is born of collective effort and aspiration. Maybe that’s why it’s such a powerful vehicle of social engagement, and why activist artists are drawn to it.
For the nation’s theatre teaching artists, “arts education” is a redundant phrase. Their own lives and careers prove it.
Meet a cadre of artists and companies who put social, political and civic causes at the forefront of their work.