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Courses

Syllabi are for course approval and reference only. Students will receive up-to-date syllabi when their courses begin.

Acting—Spring Semester

(Boston University Students only)

CFA DR 316 Voice and Speech/LAMDA
Students will develop an understanding of vocal anatomy and physiology (with particular reference to the organs of speech), an understanding of the International Phonetic Alphabet and Cardinal Vowels, as well as analysis of their own accents. In addition, students will develop knowledge and practice of Stage Standard English (Received Pronunciation), release of unhelpful vocal tension, develop an understanding of clear articulation, and the ability to phonetically transcribe nonsense words. 3 cr.

CFA DR 326 Acting Restoration/LAMDA
Students in these courses will develop a sustained focus in class work, rehearsals and scene showings, while learning to translate feelings and experience into characterization. Emphasis is placed on awareness of weight, space and time with respect to character, as well as liberated imagination, to develop freedom to explore a character. Improvisation and short scene study develop awareness of different classical styles of play writing, with research and presentation of different social relationships. Creating and sustaining characters and action in European and British plays, especially those of Molière, Restoration authors, Chekhov, and Shaw. Emphasis on organic interrelation of acting, speech, and movement. The actor explores deeply the demands made by form and content of each script. 3 cr.

CFA DR 327 Acting Shakespeare/LAMDA
Students in these courses will develop a sustained focus in class work, rehearsals and scene showings, while learning to translate feelings and experience into characterization. Emphasis is placed on awareness of weight, space and time with respect to character, as well as liberated imagination, to develop freedom to explore a character. Improvisation and short scene study develop awareness of different classical styles of play writing, with research and presentation of different social relationships.

Creating and sustaining characters and action in European and British plays, especially those of Molière, Restoration authors, Chekhov, and Shaw. Emphasis on organic interrelation of acting, speech, and movement. The actor explores deeply the demands made by form and content of each script. 4 cr.

CFA DR 338 Movement/LAMDA
This course will help students develop group interaction skills, focus skills, physical strength and posture, while encouraging disciplined skills in free movement and suspend and fall. Students will work on stretching, extending and strengthening skills, as well as retention and attention to detail in movement and dance. Further training involves complicit play and understanding of rhythms, interpretive movement improvisation, basic stage combat, technical movement in relation to mime, and comedic character movements. It explores various styles of movement. Further works in alexander techniques and improvisation supplement the teaching. 3 cr

CFA DR 339 Historic Dance/LAMDA
Utilizing the foundation of movement, students will develop an understanding of the dances and social background of the Elizabethan period, the 17th through the 19th Centuries with sessions devoted to Flamenco. Students will develop spatial awareness, period empathy with respect to the techniques, poise and deportment, as well as achieving a recognition of poor posture, muscular tension, and release of energy and anxiety levels in a constructive way.  Styles of dance including commedia dell'arte, court dance, and other period forms will be explored. 3 cr.

For more information on the London LAMDA program, please visit: www.bu-london.co.uk/lamda.html

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Faculty

Pamela Barnard, Licentiate, Royal Academy of Music, Speech and Drama; Certificate in Diction and Drama, London University; Certificate, International Phonetic Association. She is a Senior Voice Tutor at LAMDA and an Honorary Fellow at Trinity College of Music, London. She has directed and taught at Citrus College (Los Angeles) and the University of Connecticut, as well as guest directed at Boston University. She has also directed many public performances and workshops and was the Head of the Voice Department at LAMDA from 1973- 1996.

John Bashford, Post Graduate Diploma in Directing, National Institute of Dramatic Art (U.N.S.W., Sydney, Australia); Diploma in Professional Theatre, LAMDA; Certificate of Stage Fighting, Society of British Fight Directors. He is currently a Text & Acting Teacher at LAMDA teaching First and Second Year students. He also directs extensively, working with students of all years at LAMDA. Other directing credits include The Peter Hall Co. (Assistant Director), Warehouse Theatre Co. and the Griffin Theatre Co.

Rodney Cottier, Actor Training, LAMDA; HNDH&C and MHCIMA, Brookes University (formerly Oxford Polytechnic). He is currently the Drama Administrator and has taught acting, stage combat, and text at LAMDA for seventeen years as well as guest directed at both Citrus College (Los Angeles) and the University of Connecticut. He also has a wide range of professional stage credits as Fight Director for performances held throughout the United Kingdom, including Shakespeare's Globe.

Anne Durham, Royal Ballet School; Associated Arts School; Qualified teacher of Alexander Technique. She is currently the Head of Movement at LAMDA as well as a first year tutor, teaching Pure Movement, Applied Movement, Choreography, and Direction. In addition to teaching at LAMDA, she has taught at the University of Connecticut, Citrus College in California and the LAMDA Summer Workshop in Los Angeles. She has also performed in many theatres in the UK and as a dancer in Sweden and Germany.

Glynn Macdonald, Certified Practitioner, Neuro Linguistic Programming; Movement Training, Tessa Marwick, London; Alexander Technique Training, Constructive Teaching Centre; BA, University of Queensland, Australia. She is currently an Alexander Technique tutor for the Second Year and Post Graduate students at LAMDA. She has taught the Alexander Technique at the Royal College of Music, Central School of Speech and Drama, as well as the Guildhall School of Music and Drama. She has also led workshops on the Alexander Technique in England, Germany, Holland, Israel, Poland, the United States, and Denmark in addition to lecturing extensively in England.

Robert Macdonald, MA, Diploma, Central School of Speech and Drama; Alexander Technique Teacher Training, Constructive Training Centre; Postgraduate Acting Diploma, LAMDA; BA, York University (Canada). He is a Senior Voice Tutor and Alexander Technique Teacher at LAMDA and has taught in England, Estonia, Ireland, Italy, Norway, Spain, Sweden and the United States. He has directed plays in Denmark and England and has published in his field.

Diana Scrivener, Licentiate, Royal Academy of Dancing; Teacher Training, Royal Academy of Dance. She is currently a Historical Dance Instructor for First Year and Post Graduate students at LAMDA. She has also taught at the Guildhall School of Music & Drama as well as the Central School of Speech & Drama. She is a freelance dance teacher and choreographer specialising in History of Dance, and conducts workshops in Development of Social Dancing from the 11th to 18th centuries. She has performed both in London and in France, Spain, Greece, the Netherlands and Belgium and was the assistant Choreographer on the film Elizabeth starring Cate Blanchett.

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