The New School for Drama / Viewbook 2010

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THE NEW SCHOOL FOR DRAMA
THE NEW SCHOOL FOR DRAMA www.newschool.edu/drama

J O e m ANT e LLO
d isT iNGu i s h e d A rT i s T-i N - r e s i d eN c e, 2 0 1 0 – 2 0 11
Joe Mantello’s directing credits include Pal Joey, 9 to 5, November, The Receptionist, The Ritz, Blackbird, Three Days of Rain, The Odd Couple, Glengarry Glen Ross (Tony nomination), Laugh Whore, Assassins (Tony Award), Wicked, Take Me Out (Tony Award), Frankie and Johnny in the Clair de Lune, A Man of No Importance, Design for Living, Terrence McNally and Jake Heggie’s Dead Man Walking for San Francisco Opera, The Vagina Monologues, Bash, Another American: Asking and Telling, Love! Valour! Compassion! (Tony nomination), Proposals, The Mineola Twins, Corpus Christi, Mizlansky/Zilinsky, Blue Window, God’s Heart, The Santaland Diaries, Snakebit, Three Hotels, and Imagining Brad. He has also performed in Angels in America (Tony nomination) and The Baltimore Waltz. Mr. Mantello is the winner of Outer Critics Circle, Drama Desk, Lucille Lortel, Helen Hayes, Clarence Derwent, Obie, and Joe A. Callaway awards. He is a member of Naked Angels and is an associate artist at Roundabout Theatre Company.

P r e Vi O us Ar Tis T s-iN- resideNce
2009–2010: JON rOBiN BALTZ Jon Robin Baitz is a Pulitzer finalist, a Guggenheim and NEA fellow, and winner of an American Academy of Arts and Letters Award. A founding member and former artistic director of New York’s Naked Angels theater company, Mr. Baitz has written a number of acclaimed plays, including The Film Society, The Substance of Fire, Three Hotels, A Fair Country, Ten Unknowns, Mizlansky/Zilinsky (a new version of Ibsen’s Hedda Gabler, produced on Broadway in 2001), and The Paris Letter. Playwrights Horizons, the Roundabout Theatre Company, Lincoln Center Theater, and the Second Stage Theatre have produced Baitz’s work in New York. Mr. Baitz’s new play, Love and Mercy, will be produced next season on Broadway.
Mr. Baitz also has extensive experience working in TV. He created the hit ABC show Brothers & Sisters and served as executive producer for the first two seasons. He has also written episodes of The West Wing and Alias. His PBS film version of Three Hotels won a Humanitas Award. His other screenplays include The Substance of Fire, based on his play, and People I Know, which starred Al Pacino. Mr. Baitz is currently writing and executive producing a mini-series for HBO entitled Bush’s War.

2008–2009: JOhN TurTurrO In his theatrical debut, John Turturro created the title role in John Patrick Shanley’s Danny and the Deep Blue Sea, a performance that won him both an Obie and a Theater World Award. He has performed in Beckett’s Waiting for Godot and Brecht’s The Resistible Rise of Arturo Ui and has appeared in more than 60 independent and studio films, including Spike Lee’s Do The Right Thing, Martin Scorsese’s The Color of Money, Robert Redford’s Quiz Show, and Joel and Ethan Coen’s O Brother, Where Art Thou? Mr. Turturro won the Cannes Film Festival Best Actor Award and the David di Donatello Award for his role in the Coens’ Barton Fink and an Emmy and two SAG Award nominations for his work in television. Mr. Turturro is also a director; his debut film, Mac, won the Camera d’Or at Cannes. 2006–2007: JOhN PATrick shANLeY Mr. Shanley’s plays include Danny and the Deep Blue Sea, Savage in Limbo, Welcome to the Moon, Four Dogs and a Bone, the dreamer examines his pillow, Where’s My Money?, and Defiance. His play Doubt was awarded the 2005 Pulitzer Prize for Drama and the 2005 Tony Award for Best Play. His screenplay for Moonstruck received both an Academy Award and a Writers Guild of America Award for Best Original Screenplay. Mr. Shanley also directs in theater and film.

2007–2008: dOuG huGhes Mr. Hughes joined The New School for Drama after directing the Broadway revival of Inherit the Wind, starring Christopher Plummer and Brian Dennehy. In 2005, Hughes won a Tony Award for Best Direction of a Play, along with Lucille Lortel, Outer Critics, and Drama Desk Awards, for his work on John Patrick Shanley’s Doubt. In 2004, he received Tony, Lortel, and Outer Critic’s Circle nominations for his direction of Frozen by Bryony Lavery. Mr. Hughes directed the Broadway premiere of Theresa Rebeck’s Mauritius while serving as artist-in-residence.

rOB erT LuPONe
d i r e cTOr O F T h e N e W sch OOL FO r dr Am A

The New School for Drama will help you identify your secret, your emotional truth, your organic voice.
You come away with Method-based training; but figuring out your secret—the one that scares you—that’s what will make you unique. I know many artists who never touch that inner voice, but the brilliant artist always owns and commands that secret. When you enter the professional world, you’ll already have a distinct identity as an artist that will get you noticed. Practical application, not theory, is the real teacher. And that learning curve never ends. The theater is a series of tests: You audition; you get the job; then there are rehearsals, opening night, closing night. Embedded in our curriculum are similar challenges, so that you can gauge your progress as you develop your craft. In addition to being master teachers, the majority of our faculty are working professionals. There is a generosity of spirit among the faculty; they know from experience all the ins and outs of the industry and the importance of what they are passing on to the next generation.

OV e rV ie W OF T he PrOGrAm
At The New School for Drama, the creative instinct is nurtured and set free. Actors stretch their talent through a combination of methods including the Alexander Technique— a rigorous voice and speech curriculum that brings together several systems of training—and the acting techniques of Stanislavski. Playwrights, whose words are brought to life in one-act festivals and main-stage productions, hone their work in real-world conditions. And directors become acutely attuned to the meaning of story, gaining confidence in employing its dynamics to conceive and create visionary theater. In all three disciplines, a faculty of working professionals coax forth each student’s unique, original voice. The three-year MFA program is progressive: Students begin with self-discovery, build technical skills in the second year, and finish by writing, directing, and acting as well as developing a business plan for use after graduation. They establish both a rooted sense of themselves as individuals and the ability to apply their gifts in seamless collaboration with other artists. The New School for Drama has its roots in the legendary Dramatic Workshop, established at The New School in 1940. Its founder, Erwin Piscator, and a faculty including Stella Adler and Lee Strasberg fostered artistic voices as distinctive as Tennessee Williams and Marlon Brando. Since 1994, the university has offered the MFA degree in dramatic arts. With theater in the air and on its streets as well as on its hundreds of stages, New York City provides unrivaled opportunities for education through observation and professional advancement. Through its integrated program of acting, directing, and playwriting, The New School for Drama is forging the next generation of artists capable of bringing stories to life on the stage and the screen.

Ac Ti N G, direc Ti NG, ANd PLAYW riTiNG Tr Ac k s
Ac T iN G
Using as its organic center the principles of Konstantin skills in analyzing plays, defining and executing the given circumstances, and shaping a production around the story of the play as the director conceives it. Much of the work consists of exercises in interpretation, which is as crucial to the storytelling process as motivating actors in a rehearsal, collaborating dramaturgically with a playwright on a developing script, and learning to use classic texts for language, style, and stage composition.

Stanislavski, The New School for Drama’s acting track offers intensive training in internal and external disciplines as well as in individual and collaborative interpretation of classic and modern texts. The goals are to Help you develop an understanding of the intellectual, emotional, physical, vocal, and psychological demands of performance in the professional world Build your individual voice as a performer and your ability to collaborate with others in the program and the profession Provide you with superior professional training

Year One: discovery You work on ten-minute plays—both published and new— to develop skills in defining relationships, conflict, and dramatic action. Year Two: structure The emphasis is on the study of classic texts, from Chekhov to Albee. The year culminates in a one-act performance festival. Year Three: Production Applying the tools learned in the first two years, you devote your final year to performance and production.

Year One: discovery Integral to the acting track is the step-by-step development of both basic acting and text discovery skills. With the classroom as laboratory, you explore the process of imagination through games, storytelling, and sensory and word exercises. In the second semester, you probe accessible texts through scene work and develop stronger, deeper, more nuanced vocal and physical performance in comprehensive voice and movement classes. Year Two: structure This year centers on the development and application of stylistic and structural knowledge and command, both in class and in public performance of one-act plays. Acting: You explore character in a performance context through monologue and scene work. Classes work with a wide range of texts, including Shakespeare, Chekhov, Ibsen, O’Neill, Miller, and contemporary American playwrights. Voice: Shakespearean sonnets, speeches, and other classical texts are used to develop an understanding of the connection between vocal work and acting power. Work on dialects and accents is begun, and musical theater is introduced. Movement: Training is given in period style and dance, masks, stage combat, and other physical skills and conventions for the stage. Year Three: Production The final year focuses on production and professional preparation. Personal and collaborative skills developed in the first two years find expression in experimental pieces, cabarets, musicals, classics with an edge, and original fulllength plays. The practical aspects of entering the acting profession dominate the second semester as you attend sessions with producers, directors, writers, actors, casting directors, and agents. You also rehearse for an industry showcase—a realization of your three years of work and a presentation of your skills to the professional world.

P L AY W r i T i N G

The Playwriting Department challenges a select group of

students to become courageous, informed writers able to both succeed artistically and support themselves in the professional world. In the course of three years, playwrights build a portfolio including a produced ten-minute play, two one-acts, a workshopped or produced full-length play, a screenplay, and a sample television script. The program develops not only craft and discipline but also awareness of self and of the range and depth of human experience in the wider world. Like the other departments at Drama, the playwriting program puts a premium on collaboration, in the belief that the best theater emerges from an intelligent and passionate fusion of writing, directing, and acting.

Year One: discovery You are immersed in the world of drama: its creation, history, and significance. Class exercises build from inspiration to the finished scene. Text analyses of classic and modern plays emphasize the building blocks of the dramatic forms. Lab class introduces you to the vocabulary and technique of collaboration. Year Two: structure The second year begins with the ten-minute play, developed and critiqued in writing and lab classes and presented at the end of the first semester. In the second semester, you begin your first full-length play and delve into the process of rewriting as you work on a longer one-act, to be produced at the end of the year. Year Three: Production Over the summer and through the fall, you develop two pieces to workshop in your writing classes and in advising sessions; one is performed for the public on the school’s mainstage, and the other is presented to the industry as a staged reading. In addition, you receive training in writing for film and television, to expand your professional options after graduation.

d i r e cT i N G

Just as the playwright is the author of the text, the director,

in conjunction with the actors, is the author of the production. The New School for Drama requires directors to study theater history as well as acting, movement, script analysis, and hands-on directing. The directing track is designed to build

Collaboration is at the core of the three-year MFA program.
At The New School for Drama, actors, directors, and playwrights work together from the very first week of class, learning to create, refine, and produce as a company of artists. The process begins in the First Year with ensemblebuilding work and explores the process of developing and rehearsing new plays. The Second Year, which explores style and tone in writing, directing, and performance, serves as a “boot camp” in the process of revising and shaping a piece. The learning process culminates in the Third Year with a production that requires students from the three disciplines to come together as a company and create a new work for the American stage. Playwrights, actors, and directors (both students and teachers) work together in rehearsals and in the classroom, giving you a glimpse of what it means to develop a new play. This crossover within your class lets you learn from your peers as well as the instructors at Drama and develop professional connections that last well beyond graduation.

di s c OV e rY s T ru c T u re PrO du c T iO N c O NNec T iO N s

Professional Development
In addition to receiving superb training in theater craft, you’ll enjoy unique opportunities for career development. The Office of Career Development at The New School for Drama offers seminars, intensive workshops, and colloquia that are exceptional among theater training programs. You’ll fine-tune the skills you need to get the job and learn how to navigate your career from top industry leaders and innovators most theater students only read about: agents, managers, artistic directors, publishers, playwrights, directors, and actors.

chAirs ANd creATiVe LeAdershiP
rOBerT LuPONe, direcTOr A member of the Actors Studio, Robert LuPone has appeared on Broadway in True West, A Thousand Clowns, A View from the Bridge, Late Nite Comic, Zoya’s Apartment, Swing, St. Joan, Nefertiti, and A Chorus Line (as Zach). His off-Broadway credits include Pericles, Clothes for a Summer Hotel, Black Angel, Lennon, and Snow Orchid. In regional theater, he has performed at the Brooklyn Academy of Music, Hartford Stage, Yale Rep, Arena Stage, Berkshire Theater Festival, Shakespeare Theater of New Jersey, Williamstown Theater Festival, and the Goodman Theater, where he won the Jefferson Award for his performance in The Tooth of Crime. Mr. LuPone’s television credits include Law & Order, Crossing Jordan, Swift Justice, Guiding Light, Mia—Child of Hollywood, American Tragedy, Palookaville, Sex and the City, and The Sopranos (as Dr. Cusimano). He received an Emmy nomination for his portrayal of Zach Grayson on All My Children. His film credits include Nick of Time, Dead Presidents, The Doors, Jesus Christ Superstar, The Door in the Floor, Indocumentos, and the upcoming Tiny Dancer and Then She Found Me. Mr. LuPone is the president of the board of ART/NY and artistic director of MCC Theater in New York City. mATTheW keLTY, AssOciATe direcTOr Matthew Kelty received his BA from St. John’s College in Santa Fe, where he also co-founded the Ekstasis theater company. He studied with Jeffrey Sweet, Romulus Linney, and Lloyd Richards while pursuing his MFA in Dramatic Writing at The New School. Off-Broadway he has performed with the 24-Hour Play Company (Lucille Lortel) and with Epic Rep in Anouilh’s Antigone and the world premieres of Reading Zimbabwe and Dancing with Joy. His other New York and world premieres include Safe (Sam French), Dawning (Strawberry), Loader #26 (FringeNYC), and Sid and Marshall (the Actors Studio). Mr. Kelty has directed a number of plays in New York and regionally, including La Puta Vida (Lang Atrium), The Bald Soprano and Fool for Love (Ekstasis), and the developmental projects All We Ever Had (Common Basis) and Robbie and Lynn (the Actors Studio). His play When a Storm Comes was produced off-Broadway at the DR2 Theatre; other plays have been performed in venues across New York and regionally, including the American Theatre of Actors, the Actors Studio, and the Theater at Madison Square Garden. His play Opening was a winner in the 2007 Samuel French Short Play Festival; his play Black and Blue is in development with MCC Theater. Mr. Kelty is artistic director of the New York City theater company Quarter Acre, where he is currently workshopping his adaptation of Lope de Vega’s Fuente Ovejuna. rON LeiBmAN, chAir, AcTiNG dePArTmeNT Ron Leibman received a Tony Award and a Drama Desk Award as Best Actor for his performance in Tony Kushner’s Pulitzer Prize-winning Angels in America. He won the Emmy Award as Best Actor for his work on Kaz, which he also created. Mr. Leibman has won Drama Desk Awards for We Bombed in New Haven (for which he also won a Theatre World Award), Room Service, A Dybbuk, and Transfers; he won Obie Awards for his performance as Shylock in the New York Shakespeare Festival’s Merchant of Venice and for his role in Transfers.

His other Broadway appearances include Rumors and I Ought to Be in Pictures (both by Neil Simon), Cop-Out by John Guare, The Deputy, and Dear Me, the Sky Is Falling. His film work includes Norma Rae, Night Falls on Manhattan, Where’s Poppa?, Slaughterhouse Five, Super Cops, The Hot Rock, Personal Velocity (Sundance Grand Jury Prize winner), Paul Schrader’s Auto Focus, and Garden State. Mr. Leibman has also appeared on TV in Friends (as Rachel’s father), Christmas Eve (Golden Globe winner), Central Park West, Law & Order, The Sopranos (in a recurring role), and numerous mini-series. Mr. Leibman is a member of the Actors Studio. eLiNOr reNFieLd, chAir, direcTiNG dePArTmeNT Elinor Renfield began training as a dancer with the Martha Graham Company in the 1950s. She attended the celebrated High School of Performing Arts in New York City and the Central School of Speech and Drama in London and earned an MA in Theater at the City University of New York. Since 1976, she has directed more than 25 new American plays at the New York Shakespeare Festival, Playwrights Horizon, the American Place Theater, Ensemble Studio Theater, Theater for the New City, and Café La Mama. She won an Obie Award for her production of Johnny Got His Gun at the Circle Repertory and a Boston Theater Award for her production of The Diary of Anne Frank; her production of Passion Play by Peter Nichols at the Arena Stage in Washington, DC, was nominated for a Helen Hayes Award. She has since directed Passion Play again, at the Minetta Lane Theater (off-Broadway), and revised the libretto and directed the Schwartz/Fields musical A Tree Grows in Brooklyn at the Goodspeed Opera House. On Broadway, Ms. Renfield directed Open Admissions by Shirley Lauro at the Music Box. Since 1988, she has been a member of the Theater and Dance faculty at Princeton University. PiPPiN PArker, chAir, PLAYWriTiNG dePArTmeNT Pippin Parker is a writer for theater, film, television, radio, and interactive media. He is a founding member and former artistic director of the New York City theater company Naked Angels and a founder of Writer Group, a collective of playwrights and fiction authors whose members include Nicole Burdette, Frank Pugliese, and Kenny Lonergan. Mr. Parker helped develop Naked Angels’ Tuesdays@9 cold reading series, which has brought together emerging playwrights and actors for weekly presentations of works-in-progress for the past 15 years. He also co-conceived and participates in the company’s signature Issues Projects, collaborating with Amnesty International, the Center for American Progress, Project A.L.S., and the Culture Project. His short play A Gift was produced in New York and Los Angeles and subsequently adapted for radio for NPR’s The Next Big Thing, featuring Lily Taylor. He has been a staff writer for shows including the animated series The Tick and developed work with producer Tom Fontana. His current projects include his new play, Assisted Living, which has been presented at Naked Angels and at New York Stage and Film, and an original television series in development at HBO. He is an active member of the Writers Guild of America, East.

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A P PLY NOW: WWW.NeW schOOL .edu/ d r A mA
ABOuT The NeW schOOL Located in the heart of New York’s Greenwich Village, The New School is a center of academic excellence where intellectual and artistic freedoms thrive. Students who attend the university’s eight schools enjoy a disciplined education supported by small class sizes, superior resources, and a renowned working faculty who practice what they teach. Artists, scholars, and students from all walks of life attend its diverse programs, in which they earn everything from certificates to bachelor’s, master’s, and doctoral degrees. The New School was founded in 1919 as a place where global peace and justice were more than theoretical ideals. New School students participate in programs that nurture academic excellence, technical mastery, and engaged world citizenship.
The information published here represents the plans of The New School at the time of publication. The university reserves the right to change without notice any matter contained in this publication, including but not limited to tuition, fees, policies, degree programs, names of programs, course offerings, academic activities, academic requirements, facilities, faculty, and administrators. Payment of tuition or attendance at any classes shall constitute a student’s acceptance of the administration’s rights as set forth above. The New School does not discriminate on the basis of age, race, color, gender, sexual orientation, religion, religious practices, mental or physical disability, national or ethnic origin, citizenship, veteran, or marital status. Published 2010 by The New School. Produced by Communications and External Affairs, The New School. Design: Eric Baker Design Assoc. Photography: Xanthe Elbrick, Matt Gorrek, Don Hamerman, Matthew Sussman, Scott Wynn

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