Creating strong vocal and physical choices that are supported by the text is often a place where actors become stuck -- stuck in their heads or stuck in their bodies, or stuck in some concept of a theatre style. And the clues that are in classical text (i.e., punctuation, rhythm, repetition, simple vs. complex language, etc.) are often overlooked, while actors try to force ideas onto the text; or paraphrase the text (thus paraphrasing the acting); or attempt to normalize the text by deemphasizing the rhythm. The results are flat, static and frustrating for both actors and audience.

Simply Shakespeare Workshops explore Shakespeare from the "outside-in" AND the "inside-out". Simply Shakespeare provides the link between the classical acting approach to text and modern acting techniques. Workshops provide artists with a toolbox of acting exercises designed to aid actors in breaking free of stereotypical thinking and static acting. These Workshops are fun, dynamic and powerful.

Artists learn the given circumstances of the play and a character by deciphering textually the clues relating to status, class, and relationships. Additionally, they explore the historical aspects of the 'world of the play'.
Artists learn HOW a character speaks in order to determine WHO a character is, so that organic and dynamic choices are made vocally and physically.
Artists learn to create the physical manifestations of character choices by exploring the intentions and truth of the character through a personal response to language, sound and circumstance.
Artists learn to link up these givens to strong, active objectives.
Artists learn to make fully supported text choices.

See Calendar for Workshop schedules, or feel free to contact us for additional information.

She has joined the methods of Stanislavski and the Eric Morris System to the highly structured approach of the English theatre, and created a process that allows actors to work both organically and with carefully crafted style. As a teacher, April is funny, creative, imaginative, and encouraging.

— Elizabeth Browning, Acting Instructor (EB Studios, NY)

No matter how much I think I know I always learn something new when attending her workshop.

— Rose Evans, Actor


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Background Info What is the First Folio? Elizabethan Actors About Us Links Workshops Actors Theatre & Schools Private Coaching Simply Unplugged Productions General Info The Lyon's Part With Ham on the Side Gravedigger's Lament You Take the Low Road			Actor Workshops Creating strong vocal and physical choices that are supported by the text is often a place where actors become stuck -- stuck in their heads or stuck in their bodies, or stuck in some concept of a theatre style. And the clues that are in classical text (i.e., punctuation, rhythm, repetition, simple vs. complex language, etc.) are often overlooked, while actors try to force ideas onto the text; or paraphrase the text (thus paraphrasing the acting); or attempt to normalize the text by deemphasizing the rhythm. The results are flat, static and frustrating for both actors and audience. Simply Shakespeare Workshops explore Shakespeare from the "outside-in" AND the "inside-out". Simply Shakespeare provides the link between the classical acting approach to text and modern acting techniques. Workshops provide artists with a toolbox of acting exercises designed to aid actors in breaking free of stereotypical thinking and static acting. These Workshops are fun, dynamic and powerful. Artists learn the given circumstances of the play and a character by deciphering textually the clues relating to status, class, and relationships. Additionally, they explore the historical aspects of the 'world of the play'. Artists learn HOW a character speaks in order to determine WHO a character is, so that organic and dynamic choices are made vocally and physically. Artists learn to create the physical manifestations of character choices by exploring the intentions and truth of the character through a personal response to language, sound and circumstance. Artists learn to link up these givens to strong, active objectives. Artists learn to make fully supported text choices. See Calendar for Workshop schedules, or feel free to contact us for additional information.	She has joined the methods of Stanislavski and the Eric Morris System to the highly structured approach of the English theatre, and created a process that allows actors to work both organically and with carefully crafted style. As a teacher, April is funny, creative, imaginative, and encouraging. — Elizabeth Browning, Acting Instructor (EB Studios, NY) No matter how much I think I know I always learn something new when attending her workshop. — Rose Evans, Actor
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