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DRAMA SAMPLE COURSE DESCRIPTION

"Not only did I learn how to connect to the wonderful people in my drama class but I also learned how to connect with myself. I learned about techniques used by other great actors. I learned the importance of the cast and how everyone must have energy and bring each other up so the story can be told correctly." – Student, 2007

"I learned the best from the best and will use it all my life whether in teaching, performing, or just remembering. I've become a better actor, I feel more intimately connected to theatre, and I'm happy to have been in Drama 2007." – Student, 2007

"Everything we did here helped me to be more truthful in my acting. I feel like every lesson I've learned here can bring deeper understanding to my life." – Student, 2007


GS-EAST

The Drama program at Governor's School East is built upon two principles: an introduction to 20th/21st century innovation in theatrical forms, and the making of a student created work, or works. Focus is given to the creative process so that students move away from the traditional, script-based works and the concerns of "casting." Instead, great effort is made to create an environment where students are encouraged to become more than "interpretive" artists, and to view themselves as intrinsic to the creative process: writing, designing, directing and producing a body of new work that stretches their ideas of what theater can be.

This curriculum involves a high level of group thought and collaboration. It demands tremendous physical and mental concentration. The class time is spent not only introducing the ideas of theater but also on the techniques needed to build the ensemble. The classes themselves revolve around physical training (yoga and games to build concentration and ensemble) and introduction to view points work, as developed by Wendell Beavers, Mary Overlie, and Anne Bogart.


GS-WEST

The foundations the GSW theater program are ensemble building and storytelling. Using texts by playwrights such as Bertolt Brecht, Horton Foote and Suzan-Lori Parks—and training techniques pioneered by Konstantin Stanislavski, Sanford Meisner, Tadashi Suzuki and Anne Bogart, among others—the students explore diverse performance styles in exercises, improvisations, scene work and performance.