"Using languages other than English can be a liberating and rewarding experience...This idea comes from a clowning commandment taught by Matt Godfrey at an ISTA workshop we attended a while back...Ever since then, whenever I teach clowning, I have encouraged my students not to use English to express themselves." - Nita Dewse, Bangkok Patana School, Thailand.

Grotesque Clown

The Bad Acting Workshop

Bespoke Shakespeare

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Grotesques challenge the audience to think.  They mutter and shout uncomfortable truths about the world around them while keeping the audience on the edge of their seat.  Not for the faint of heart this workshop asks participants to physically and vocally embrace and express their rants and raves through their inner Grotesque Clown. Photo: Matthew Godfrey as Mr. Block in Kafka's The Trial, Los Angeles, USA.

Bespoke Shakespeare

The Bad Acting Workshop

Bespoke Shakespeare

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Building upon Shakespeare 101 Bespoke Shakespeare focuses on specific plays.  Students start the workshop playing with carefully chosen lines from the given text and end by performing a very condensed version of the whole play.  A great way to support an English class, introduce a unit or just play with the text while exercising their acting chops.  Let me know which play you you want to play with! Photo: ISTA Festival - Dresden International School, Germany

The Bad Acting Workshop

The Bad Acting Workshop

The Bad Acting Workshop

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Recognise it. Own it. Control it. Destroy it. We know it when we see it but are we guilty of it. By playing with the worst habits and bad choices actors make we can embrace them, laugh at them and with any luck avoid them in the future. This workshop is ideal for High-school students but works with Middle School as well. Photo: Matthew Godfrey, ISTA TaPS, Ripley Greer Studios, New York, USA.

Me, My Nose and Meisner

Me, My Nose and Meisner

The Bad Acting Workshop

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It’s all gibberish.  Communicating in the Clown world is exactly the same as what Sanford Meisner referred to as “living truthfully in imaginary circumstances”.  This workshop brings these two theatre practices together to liberate the actor from their mask while giving the clown a voice.  This workshop can be taken as an extension of Red Nose Clown or can be taken as an introduction to Meisner. Photo: HS students at International School of Beijing, China

Accidentally on Purpose

Me, My Nose and Meisner

Accidentally on Purpose

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There are no accidents on stage.  The actor is always in control of the chaos and the audience cheers when the actor’s goal is achieved despite everything having gone wrong.  This workshop will throw a monkey wrench into the simplest of tasks to ensure maximum chaos is encountered along the way to achieving a goal. Photo:  Norbut Yetso experiencing Newtons 3rd Law of Physics.

Entrances and Exits

Me, My Nose and Meisner

Accidentally on Purpose

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Movement commands the audience’s attention. Entrances and Exits enhance the believability of character and story; support a scene; or detract.

A fully realized performance encompasses the character’s story before and story after from the audition process through performance. Actors need to make strong choices and discover a palate of essential motivations to come and go. Photo: HS students in Strasbourg, France