Instruction Links

Capitano


Upon These Boards is dedicated to professional training for the emerging theatre artist.

We offer a variety of workshops, and have helped place students in well-regarded

professional training programs and acting conservatories.

Our teachers (regional theatre artists of note) work across the nation.

UTB offers a rehearsal environment where the actor is empowered to explore the ‘finer lines’.


 

With its roots in ancient Roman street comedy, the commedia dell 'arte form happily leapt, danced and prat-fell onto the scene in Europe during the Renaissance. It lives on today in the sinews of the best comic writers and clowns, as well as serving as an extremely valuable set of physical acting tools for the facile actor who must caper between classical and contemporary material.

Here then is a master class which immerses the student of theatre in the grand style and hidden wisdoms of the mask, the 'lazzi' and the ensemble ethic. These workshops and curriculum has been be adapted in length over the years, depending upon the need and circumstances, to include a turbo-charged immersion (mere days) or a properly languid soaking (several weeks and.or months).



Level One  - Lecture & Practicum
The commedia dell' arte prototypes are presented in historical context, explained in hysterical manner,

and given life through actualizing them physically.

The actors work with gesture and mask to awaken these fools.

Level Two – Fortune’s Fools
The menagerie of fools, clowns & jesters

from Shakespeare's canon

are defined, explored and rehearsed.

Level Three  - Lazzi & Scenario Lab
Practical tools will give rise to the ensemble's imagination

in creating original clowns and improvised scenario,

inspired by both classical and modern comedy.

"He delivers the message of Laughter.

A dynamo of an instructor who holds the group spellbound.

A joy to listen to and watch. The pixie has comedy's healing powers.

A tremendous privilege to have been in his class. One of a kind."

"I was so excited about the layers, textures and depth we could add to our performance in The Love For Three Oranges.  So much of our opera chorus work depends on gesture to communicate meaning, and experiencing how those actions, given intention (and connected to the purpose of the scene) can make the "magic" of  theatre happen, was a joy. The time just flew by, and I was amazed at how much we accomplished in the two afternoons."


Randall Stuart

To book Mr. Stuart's time, and/or questions regarding fee schedule, contact us at: Staff@UponTheseBoards.org