A&amp;V coach Emma Magnus, a New School graduate, on the dizzying effects of speaking your monologue REALLY QUIETLY to a stuffed animal. Actors often go big when working a text but what can we learn from taking that in the opposite direction, after a good thrashing, and go really, really small?  Warning: Emma was still hung over for this episode but that kinda helped… Emma (Mags) Magnus (she/they) is a graduate of The New School and BADA’s midsummer in Oxford program. They are an NYC-based actor and co-founder of production company The Fricks. Upcoming works include the films UFO Club and All Tomorrow’s People.  @mags_magnus  Emmamagnus.com

A&amp;V coach Emma Magnus, a New School graduate, on the dizzying effects of speaking your monologue REALLY QUIETLY to a stuffed animal. Actors often go big when working a text but what can we learn from taking that in the opposite direction, after a good thrashing, and go really, really small?  Warning: Emma was still hung over for this episode but that kinda helped… Emma (Mags) Magnus (she/they) is a graduate of The New School and BADA’s midsummer in Oxford program. They are an NYC-based actor and co-founder of production company The Fricks. Upcoming works include the films UFO Club and All Tomorrow’s People.  @mags_magnus  <a href="http://emmamagnus.com/" rel="nofollow" target="_blank">Emmamagnus.com</a>

The Whispering Exercise

A&amp;V coach Peren Yesilyurt, a University of Southern California drama student, on how working through the sounds in the language can unpack the ideas in a super visceral way. What does it feel like to run an “r” up your spine and an “oh” through your belly? And how do those glorious sensations reveal the meaning in the text and allow you to open up to the emotional possibilities hidden deep within? Henry VI, Part 1:  Joan la Pucelle - Act 5, scene iii

A&amp;V coach Peren Yesilyurt, a University of Southern California drama student, on how working through the sounds in the language can unpack the ideas in a super visceral way. What does it feel like to run an “r” up your spine and an “oh” through your belly? And how do those glorious sensations reveal the meaning in the text and allow you to open up to the emotional possibilities hidden deep within? Henry VI, Part 1:  Joan la Pucelle - Act 5, scene iii

The Sounds in the Speech

Guest Director, Vanessa Mildenberg, whose work focuses on creating multi/cross disciplinary international work that’s both physical and text-based, blows our minds with detailed descriptions of her particular rehearsal formula. We dive into the challenges of creating trust in the room and discussions of the global research that has allowed Vanessa to discover techniques based in dance, movement, improvisation and collaboration, giving way to fresh, inventive, highly physical productions of Shakespeare’s plays. King Lear:  Edmund - Act I, scene ii

Guest Director, Vanessa Mildenberg, whose work focuses on creating multi/cross disciplinary international work that’s both physical and text-based, blows our minds with detailed descriptions of her particular rehearsal formula. We dive into the challenges of creating trust in the room and discussions of the global research that has allowed Vanessa to discover techniques based in dance, movement, improvisation and collaboration, giving way to fresh, inventive, highly physical productions of Shakespeare’s plays. King Lear:  Edmund - Act I, scene ii

Physicalizing the Text

A&amp;V coach Maddie Powell, a Northwestern student, on a technique that makes Mrs Stupid looks like a rave. Get ready to DIG IN on a method that takes apart the text in grisly detail only leaving you wanting more. This episode does not require a lexicon, the Oxford English Dictionary, or the good old internet to do the dirty work of understanding all of your text in the context of the period, but you’ll want all those sources after the episode when you race to apply this technique to all your monologues. Cymbeline: Imogen - Act III, scene iv

A&amp;V coach Maddie Powell, a Northwestern student, on a technique that makes Mrs Stupid looks like a rave. Get ready to DIG IN on a method that takes apart the text in grisly detail only leaving you wanting more. This episode does not require a lexicon, the Oxford English Dictionary, or the good old internet to do the dirty work of understanding all of your text in the context of the period, but you’ll want all those sources after the episode when you race to apply this technique to all your monologues. Cymbeline: Imogen - Act III, scene iv

Direct Translation

A&amp;V coach Joey Nasta, a Fordham grad, on the most annoying but super helpful exercise that’s like a specificity pill. Swallow that thing and BAM, you are suddenly dragged out of being general and into really thinking about what the heck your character is saying. This super simple exercise will help you dig down to the real meaning of the text without having to crack a lexicon. Just trusting your own instincts and Shakespeare’s language, you can make sense of so much of the text!

A&amp;V coach Joey Nasta, a Fordham grad, on the most annoying but super helpful exercise that’s like a specificity pill. Swallow that thing and BAM, you are suddenly dragged out of being general and into really thinking about what the heck your character is saying. This super simple exercise will help you dig down to the real meaning of the text without having to crack a lexicon. Just trusting your own instincts and Shakespeare’s language, you can make sense of so much of the text!

Mrs. Stupid

A&amp;V coach Anita, a high school junior, on the Princess monologue from Loves Labours Lost. Using a technique that assigns a location to each noun and pronoun, whole worlds of questions open up and Anita’s room gets covered in a ton of stickies. There’s no better way to pull apart the grammar of Shakespeare’s text and use it as a map for the “who, what, where, when and why” of your monologue. Loves Labours Lost: Princess - Act II, scene i

A&amp;V coach Anita, a high school junior, on the Princess monologue from Loves Labours Lost. Using a technique that assigns a location to each noun and pronoun, whole worlds of questions open up and Anita’s room gets covered in a ton of stickies. There’s no better way to pull apart the grammar of Shakespeare’s text and use it as a map for the “who, what, where, when and why” of your monologue. Loves Labours Lost: Princess - Act II, scene i

The Pointing Exercise

Victoria and Amanda interview each other, giving the listeners a view into their backgrounds, training and philosophies. A&amp;V agreed, early on, they didn’t want the pod to be about them, so this episode kills a couple birds here: learn about the team and get a view into the goals and content of the pod. Why’d we do it? What do we want to accomplish? And how do you, the listener, become a part of the community?

Victoria and Amanda interview each other, giving the listeners a view into their backgrounds, training and philosophies. A&amp;V agreed, early on, they didn’t want the pod to be about them, so this episode kills a couple birds here: learn about the team and get a view into the goals and content of the pod. Why’d we do it? What do we want to accomplish? And how do you, the listener, become a part of the community?

Pilot

Sure we all love Shakespeare but how the heck do you DO it? Even the best interviewers seem to stop short when actors finally get down to the nitty gritty of technique. Just when listeners are about to discover the gold of HOW performers and directors approach the real work of Shakespeare’s text, the interview veers off. Victoria and Amanda wanted to create something they couldn’t find: a podcast devoted to sharing techniques through live coaching sessions so actors, educators, directors and Shakespeare fans can build an arsenal of tools to draw upon for their own work.

Sure we all love Shakespeare but how the heck do you DO it? Even the best interviewers seem to stop short when actors finally get down to the nitty gritty of technique. Just when listeners are about to discover the gold of HOW performers and directors approach the real work of Shakespeare’s text, the interview veers off. Victoria and Amanda wanted to create something they couldn’t find: a podcast devoted to sharing techniques through live coaching sessions so actors, educators, directors and Shakespeare fans can build an arsenal of tools to draw upon for their own work.

Coaching Shakespeare

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