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, dancer, teacher, choreographer, began dancing
in NYC in 1976. He was a founding member and early director of Movement Research Inc. He has been on the faculty of NYU's
Experimental Theater Wing (ETW) since 1978 and currently serves as the program's Associate Director. His recent choreography
based on his own Development Technique (tm), has been produced in NY by the Danspace Project -- Surface (1996), Seeds and Branches (1998); Dance Theater Workshop --Freeing the Dura (1993); DIA, Dixon Place, PS 122 and Movement
Research. He has taught and led performance workshops in many countries and venues, including Silesian Dance Theater, Bytom,
Poland; Rotterdam Modern Dance Academy; School for New Dance Development, Amsterdam; TJUNCTION Vienna; Experimental Theater
Wing, Paris; American Dance Festival Six Week School, Durham, NC; and Naropa University, Boulder, Co.
is a choreographer, dancer, and teacher who for the last 27 years has been an
innovator of many developments in dance and performance. He has preserved and developed the legacy of the late dancer Allan
Wayne (1907-1978) through an on-going system of teachings and performances. He named this system Allan Wayne Work. In 2000,Movement
Research presented Mr.Langland's new solo, HEAT. In 1998, the Danspace Project presented his evening length work, Honor.
In 1997, The Danspace Project presented Almost Rapture and Other Dance Surprises in collaboration with Brendan McCall.
This piece was included in the New York Platform of the Sixth Rencontres Choregraphiques de Seine-Saint-Denis (Bagnolet).
Other pieces include Full Flora Smak (1994), Normal Kansas (1991). The Ghost of a Flea (1990), Rapture (1985), and Fame and Money (1983). In New York, P.S. 122, Dance Theatre Workshop,The Kitchen and The Franklin Furnace
have also presented Mr. Langland's works. In addition, his work has received the support of NYSCA, New York State Decentralization
Grants, the Robison Foundation, and The Tisch School of the Arts Senior Faculty Development Grants. Mr. Langland has been
a contact improviser since its discovery in 1972 and was a member of the ground-breaking improvisation ensemble, Channel Z,
which performed in 1999 as part of The Danspace Project's Silver Series. He was an original member of The Meredith Monk Vocal
Ensemble, performing with them again in July, 2000. He is a core faculty member of New York University's Experimental Theater
Wing. Mr. Langland has worked with many other renowned artists in different capacities and has performed and taught throughout
NorthAmerica, Europe, Korea, Venezuela, and Cuba.
is Master Teacher of Acting at the Experimental Theatre Wing of the Undergraduate
Drama Department of the TISCH School of the Arts. He is a playwright, director and teacher of acting. His book, An Acrobat
of the Heart, a physical approach to acting inspired by the work of Jerzy Grotowski, was published by Vintage Books in
September, 2000. He was the dramaturg for Moisés Kaufman's Gross Indecency, the three trials of Oscar Wilde, and Associate
Writer for The Laramie Project. His plays include Class! (with Jon Lipsky), Calamity! (with Suzanne Baxtresser), The Dragon, and Goin' Downtown. He has directed in Boston, where he was Artistic Director of Reality Theatre,
and in New York where he was Artistic Director of The New York Free Theater. His productions at N.Y.U. include Ubu Roi,
Mass Transit, Troilus and Cressida and The Merchant of Venice. He has taught at ETW for twenty years including
courses in physical acting, Shakespeare, Advanced Improvisation and Street Theater.
For additional information about Stephen Wangh, please click here: homepages.nyu.edu/~sw1 |
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distinction as teacher, director, and performer is
recognized throughout the world. A pioneer of the extension of the human voice, his unique abilities have taken him to over
25 countries, and inspired a whole generation of performers and their work. He has been part of the music theatre faculty
at the Banff Centre, Canada since 1885. He teaches at Towson University, Fordham College at Lincoln Centre, New York University's
Experimental Theatre Wing and for theatre companies, universities and opera schools around the world.
In 2000, Mr. Armstrong was one of five featured artists at A Conference for Theatre Makers and Trainers: International
Origins for New Theatre Practice, sponsored by Towson University, the Baltimore Theatre Project, and The International
Theatre Institute. That same year he directed Musique Défilé, composed by Linda Bouchard for Montreal's Nouvel Ensemble
Moderne, in both Montreal and for the Singapore Arts Festival. In 2001, he was the subject of a film documentary The
Former Mrs. Butterfly - a dialogue on voice created and directed by Canadian filmmaker Julie Trimingham. In 2002, he performed
Sir Peter Maxwell Davies' Eight Songs for a Mad King in Vancouver. After a long collaboration with Ms. Bouchard on
her new opera - The House of Words - he directed a fully staged production with students of the Experimental Theatre
Wing in New York in 2003.
began his theater career with the internationally acclaimed Theatre de la Jeune
Lune where he worked for five years as an actor, director, composer, designer and artistic associate. In 1989 he joined the
acting company of the Guthrie Theater where he appeared in over twenty productions. After Guthie, he moved to New York where
he continues to direct acclaimed productions .
He has received numerous awards and grants including a Jerome Foundation Travel/Study Grant, a General Mills Foundation Artist
Assistance Grant, and both a Minnesota State Arts Board Fellowship Grant and a Career Opportunity Grant. He is a 1999/2000
Fox Fellow.
He has taught classes and workshops at Cirque Du Soliel, Williamstown Theatre Festival, the Public Theater's Shakespeare
Lab, the Big Apple Circus, Interlochen Arts Center, Vassar College, Stella Adler Conservatory, Bard College, Fordham University,
University of Texas Graduate Acting and Directing Programs, National Shakespeare Conservatory, University of Minnesota Graduate
Acting Program, the Guthrie Theater, Iowa State University and Theater de la Jeune Lune.
He has served on the faculty of the Juilliard Drama School, the Actor's Center (founding faculty & master teacher of
physical comedy/clown), Yale School of Drama, the Academy of Classical Acting at the Shakespeare Theater in Washington D.C.,
New York University's Graduate Acting Program and Tisch School of the Arts. His most recent position was that of Clinical
Professor of Theater, Speech and Dance at Brown University and Director of Movement at the Brown University/Trinity Repertory
Theater Consortium in Providence, RI. In June, however, he threw caution to the wind once again and packed up his family and
all of his nonsense and headed back to New York City. He has accepted a full time appointment at the Yale School of Drama
where he will begin as Head of Physical Acting in the summer of 2007.
(Founding Artistic Director, Big Sur Theatre Lab) has been a working Actor,
Director and Teacher since 1995.
A faculty member of the Classical Studio at NYU's Tisch School of the Arts, John has also been an acting coach for the ABC
daytime drama 'One Life To Live.' As a teacher John spent a number of years developing physical acting approaches for the
stage.
John formerly served as Artistic Director for the Classical Theatre Training Program at the Norris Center for the Performing
Arts in Palos Verdes, as well as his own Performing Arts Conservatory in Carmel, Ca called PACC. John's conservatory graduates
went on to attend such prestigious acting programs as Harvard's (ART), The Central School of Speech & Drama in London,
BADA at Oxford University and New York University.
As an actor John had the privilege of being an artist-in-residence at the Carmel Shakespeare Festival and Pacific Repertory
Theatre in Central California for over a decade where he performed in over half the Shakespearean Canon as well as West Coast
and Central Coast premieres of many celebrated contemporary plays.
John received his education at NYU's Tisch School of the Arts, Experimental Theatre Wing (94'), ITW, Amsterdam Netherlands.
He was awarded a Directing Fellowship to The Juilliard School in Manhattan (03'-05') and was the recipient of The American
Theatre Wing’s Scholarship for promising Theatre Directors.
John now serves as Artistic Director of both Shakespeare Santa Monica and the Big Sur Theatre Lab.
, actor, singer, writer and teacher, has been on
the faculty of Naropa University since 1994 and currently directs the Voice Training for both M.F.A. & B.F.A. Programs
in Contemporary Performance. She began her training as an actor at Circle-in-the-Square Studio in New York City and later
earned an M.F.A. in Acting from Brandeis University. She received her B.A. in Writing from Naropa University's acclaimed
"Jack Kerouac School of Poetics" in 1984 after training with luminaries of the Beat Generation
including Allen Ginsberg, Anne Waldman, Gregory Corso & William Burroughs. Since 1991, Friend has been deeply involved
in an artistic and personal association with the Roy Hart Theatre of France. This training has informed & inspired her
work as a voice teacher and solo performing artist.
Friend has acted in professional theatres in San Francisco, Boston & Denver including Merrimack Repertory Theatre, New
Repertory Theatre, & numerous roles with the Colorado Shakespeare Festival. She has appeared with Denver's Curious Theatre
Company for two seasons for which she was twice awarded Denver Post's "Ovation Award" for Best Actress in a
Comedy (2001 & 2003). She has received numerous grants for her solo musical theatre
works including two Major Performing Arts Grants from the Boulder Arts Commission and the Tesser Award from the Arts &
Humanities Assembly for THE RISE & FALL OF PIRATE JENNY (1998-99) and SONGS MY GRANDMOTHERS TAUGHT ME (1997/2001),
which was also selected for the Colorado Shakespeare Festival's "Working Stages" Series. SOMEONE ELSE'S DREAM
(2004), based on songs by Junior Burke, garnered Denver Post's nomination for Best Actress in A Musical for 2004
and resulted in a CD recording. These works have all been produced by the Boulder Museum For Contemporary Art (BMOCA) and
toured to the Carmel Performing Arts Festival, Carmel, CA. SONGS MY GRANDMOTHERS TAUGHT ME also was produced by Velvet
Stages, Telluride, CO and was performed at the Roy Hart Theatre of France.
As a teacher of voice & acting, Friend has additionally served on the faculty of the University of Colorado, Boulder and as Artistic Director of the Colorado Shakespeare Festival's Education Outreach Program "Living Shakespeare". She maintains a private practice of voice students, and has worked as a dialect /speech coach for film & theatre.
is an independent dancer, singer, poet and body worker who has been exploring improvisation as process and performance since 1981, as a soloist and in her collaborations with artists such as Simone Forti, Image Lab (Lisa Nelson, Karen Nelson and Scott Smith),
Stephanie Maher and in the work of Steve Paxton. She teaches, directs and performs at festivals, universities and venues throughout the world including Jerwood Space, London; P.A.R.T.S., Brussels; ImpulsTanz, Vienna; EDDC, Arnhem, among many others. Her influences include Contact Improvisation, Body Mind Centering, Yoga, Authentic Movement, Alexander and Feldenkrais techniques, Martial Dance, world vocal studies and contemporary dance and theater. A 1999 graduate of the certificate program of the School for Body-Mind Centering, K.J. is adjunct faculty at New York University's Experimental Theater Wing, continues to teach in NYC through Movement Research (where she was an artist in residence 1993-94) as well as at Trisha Brown studio and Panetta Movement Center. She has a private practice in Dynamic Alignment and Re-Integration in Brooklyn, New York, where she lives.
Working in the field of improvisation since 1981, Holmes travels throughout the world teaching, directing and performing
at festivals, universities and venues such as Dancer's Group, San Francisco; Bates Dance Festival; INBA Mexico City; XIV Festival
Internacional de Danza, San Luis Potisi Mexico; Women on the Edge Festival, San Fransisco; Seattle Festival of Alternative
Dance; Festival de Moderna Danza, Caracas VZ; Shousous Theater, Hong Kong; Crown Theater, Taipei; Guangdong Modern Dance Academy,
Guanzhou China; Buracos-Relaceos de Danca, Porto Alegre Brazil; New York Improvisation Festival; The Vision Jazz Festival,
New York; Chisenhale Dance Space and Jerwood Space, London; Southeast Dance, Brighton, England: Liverpool Moving Arts, England;
Canaldanse, Paris; PARTS, Brussells; EDDC, the Netherlands and Germany; The University of Limerick, Ireland; NYU-ETW; SUNY
Purchase; Gustavus Adolphus College, St. Peter, MN; Dance Alloy, Pittsburgh; Virginia Tech: Juniata College, Huntingdon PA;
Tanz Quartier, Wien,Austria; Casina Settarte, Puglia, Italy; The American Dance Festival, NC; Dance Space, NYC. As a sought
after teacher of Contact Improvisation, voice and other improvisations, her teaching is also informed by release techniques
(including Body-Mind Centering (tm) and Alexander technique, authentic movement, martial dance, yoga and writing from the
body. She is currently adjunct faculty member at NYU/ETW and continues to teach in New York through Movement Research (where
she was Artist in Residence 1993-94) and at The Trisha Brown Studios. She has a private practice in Dynamic Alignment and
Re-Integration in Brooklyn, New York, where she lives.
K.J. creates solo performances (BIRDCAGE, ALASKA, CAPTURED CHANNELS, CURRENT), ensemble pieces (WRECKAGE, CONSTELLATION,
TERRESTRIAL FORCES) as well as collaborating with inspiring artists such as dancers Simone Forti and Troupe, IMAGE LAB
(Lisa Nelson, Karen Nelson and Scott Smith), Ray Chung, Karinne Keithley, Stephanie Maher, Sondra Loring, Jordan Fuchs and
Julie Carr; visual artists Elena Berriolo and Sue Rees; actor/dancer Valerie Vitale; poets Christina Svane and Jane Gabriels.
K.J.'s commitment to the collaboration between dance and music continues to define and refine her practice of improvisation
as a performance form and she has collaborated with such fine musicians as trumpeters Dave Douglas, Baikida Carroll and Roy
Campbell; drummers/percussionists Susie Ibarra; tablaist Jim Santi Owen; bassists Santi De Briano and Jude Webre; erhuist
Zhang Xiao-Feng; cellists Andrew Kushin and Steve Banks; pianists Peter Jones and Michael Wall; trombonist Jim Staley. She
is currently developing and directing "Constellation", an improvisation between three trumpeters and three dancers, as well
as creating the second half of an evening length piece Wreckage /and Salvage that was performed as a work in progress
this January at Danspace Project at St. Mark's Church, NYC. For the past two summers, she has had residencies in England as
part of an improvisational ensemble called Body of Truth, looking at the theatrics of the personal through dance, music and
text.
K.J. has worked vocally with Katie Bull and Jeanette Lovetri and gypsy singer Ida Kelarova ,and is currently studying with
Richard Armstrong. She has studied classical vocal technique with Judith Barnes of the Vertical Player Repertory Opera Company,
where K.J. choreographed Handel's opera Alcina spring 2001. From 1995-97 she danced in a choreography project of
Steve Paxton and is a 1999 graduate of the certificate program of The School for Body-Mind Centering.
is artistic director of BIG DANCE THEATER, a company devoted to saturating dance
with theater and theater with dance. Big Dance has appeared nationally at The American Dance Festival, Spoleto Festival, Jacob's
Pillow, The Museum of Contemporary Art in Chicago,On the Boards, UCLA LIVE!, The Walker Arts Center, The Hopkins Center in
NH, The Guggenheim Works in Process Series, Lincoln Center Out of Doors, The Performing Garage, Classic Stage Company, The
Kitchen, PS 122, and for six seasons at Dance Theater Workshop. Internationally her work with Big Dance has appeared at festivals
and theaters in Italy, France, Germany, Belgium, The Netherlands and The Republic of Georgia. Parson choreographed The
Dybukk by Tony Kushner at the Denver Center, Theater, was a YCC choreographer at The American Dance Festival in l995
with composer Richard Einhorn, and was a resident choreographer of The Yard in 1996, 1998 and 2002. She has taught in the
Master's Directing Program at Julliard, and the Bessie Schoenberg Choreographer's Workshop. Ms. Parson has been an instructor
of choreography at NYU/ETW since l993, where she also directed Botho Strauss' Big and Little for NYU. Big Dance was
awarded a Bessie in 2002 and an OBIE in 2000.
has taught Acting at Harvard University, Cornell, Trinity College, CalArts, University
of Alaska, Redlands University, The Ruskin School,and The Second City. Mr. Passer is on the national advisory boards of the
Edward Albee Theatre Festival and the National Foundation for the Advancement of the Arts and was the US Representative to
the International Commedia dell’Arte Festival in Italy. (Co-Artistic Director We Few Productions, writer, performer) directed,
performed and co-created the site-specific productions My Birthday Party and The Courtyard with the community
of artists known as We Few. West Coast credits include: The Lover in the site-specific production of Dreamplay (The
Pool), the title character in The Servant of Two Masters (Bergamot Station), The Imaginary Invalid (The Actors’
Gang), Rameau’s Nephew, Chicago Conspiracy Trial, and Macbeth (The Odyssey Theatre), She Stoops to Conquer,
A Midsummer Night’s Dream, Anthony and Cleopatra and Julius Caesar (Shakespeare Santa Cruz), The Love of Three
Oranges (A.S.K) and Center of The Star (Cornerstone Theatre Company). A graduate of the A.R.T. Institute for Advanced
Theatre Training at Harvard University, he performed in several productions at the American Repertory Theatre and Institute,
appearing as Azdak in The Caucasian Chalk Circle, Oswald in Ghosts, and Demetrius in A Midsummer Night’s
Dream. Film credits include: Music From Another Room with Jude Law, Almost Heroes, and Ted. On television,
Daniel has appeared on King of Queens, Grounded For Life, Providence, Tracey Takes On, and News
Radio. Directing credits include: Andy Dick’s Circus of Freaks (The Key Club), God’s Will, Not Mine (The
Court Theatre), Physical Comedy Tribute (The Emmy’s), Swing Dance Segment (The Sue Costello Show), and the TV
series Kiss ‘N Tell (Metro TV).
is a full-time faculty member at NYU. She has been teaching a physical
approach to acting based on the work of Jerzy Grotowski at NYU’s Experimental Theatre Wing for the past nine years.Teacher,
playwright, director and actor, she received her MFA in performance writing from Goddard College and her BFA in acting from
New York University. Trained under Ryszard Cieslak, Grotowski’s principal actor and protégée, and exposed to Mary Overlie’s
work, founder of the Viewpoints Training, Raina has taught numerous workshops and Master Classes in Physical Acting and the
Viewpoints at the Stage Directors and Choreographers Foundation (NYC), the National Viewpoint Conference (NYC), Working Classroom
(Albuquerque, NM) and the Metropolitan School for the Arts (Syracuse NY). She also teaches private classes in NYC. She has
worked with ensembles developing material for performance at Working Classroom, Metropolitan School for the Arts, Delachenal
Impro (Chambery, France) and New York University. Raina served as research assistant and editor for NYU’s Master Teacher Steve
Wangh’s book An Acrobat of the Heart: A Physical approach to acting based on the work of Jerzy Grotowski, published by Vintage
Press.
Raina’s directing credits include NYU’s production of her full-length play Das Kaspar Theatre, Safiya Henderson-Holmes’
Testimony at the New Federal Theatre, and Sarah Schulman’s Promenade at PS122, as well as assistant directing
NYU’s productions of Dream Farm, Troilus and Cressida and Merchant of Venice.
Her acting credits include Charlotte in The Last Supper (La MaMa ETC.), Magda/Rohkol/Dantchika in Jude (The
Lee Strasberg Institute), Delphine in The Life of Spiders (The Culture Project), Mother in 15 Seconds of Silence
(American Place Theatre), Mother/Madame in Roberto Zucco (Currican Theatre), Renee in Erostratus (Gene Frankel
Theatre), Killer in Killer in Love (Goddard College), Nurse in Medea (Painted Bride), Linda in Just the Boys
(Painted Bride), and Girl’s Mother/Zucco’s Mother, and Elegant Lady in Roberto Zucco (Ohio Theatre).
is a frontline New York jazz vocalist, improviser and
composer. Her work embraces the best of new music, free and straight
ahead jazz. Her recordings angel Rodeo, Lazy Afternoon and Presence
have received Best CD of the Year citations and press kudos. Her 2004
release: Presence received 5 stars in Downbeat Magazine.
Sokolov is the originator of the method of Embodied VoiceWork. As a
teacher of this method of voice and improvisation, Lisa is an
Associate Artist Professor and Head of the Voice Faculty of The
Experimental Theater Wing at New York University, Tisch School of the
Arts since 1985. She was also a longtime faculty of The Graduate
Program of Music Therapy at NYU. Ms. Sokolov is invited
internationally to perform, teach workshops and master classes in her
vocal techniques to artists, therapists, physicians and people just
wanting to contact, connect and sing. Her performance and vocal
techniques have been written up in magazines, newspapers and in texts
on improvisation.
Lisa is also acknowledged for her contribution to the field of Music
Therapy in her trainings, work and writing on the wider application of
the role of voice in this culture. She is the Director of The
Institute for Embodied VoiceWork in New York where she trains
post-graduate music therapists and physicians and is often the keynote
speaker at conferences, institutes and universities throughout the
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