Brind School Assistant Professor Rick Stoppleworth reports on some of his recent adventures:
New Friends Found In Sweden
In September I attended an international conference of theater educators titled “Whose Art Form Is It, Anyway?” The conference was organized by the Musical Theater Educators Alliance International and was hosted by the University of Gothenburg Academy of Music and Drama and the Balettakademien, Folkunivetsitetet. There were teachers of every musical theater discipline from over 15 different countries gathered in Gothenburg, Sweden to explore, discuss and share ideas about how to approach the possibilities and challenges in making musical theater education not only pedagogically sound but artistically relevant and vibrant. For me it was one of those paradoxical moments in life, exhausting me and exhilarating me at the same time.
I attended workshop presentations in Clowning through Dance (presented by Lara Teeter for those of you who were in ON YOUR TOES), Michael Chekhov in Song, a choreography workshop using “Ease On Down The Road” from THE WIZ, a master class/discussion panel in the science and practicality of vocal production, a group discussion on the potential of new and changing forms in musical theater education, an acting workshop using text and physical expression to create environment among others, and a very interesting panel discussion on translating libretti and lyric from English into other languages.
My goal, as an acting teacher, was to learn how other teachers bridge the gap between the visceral, immediate impulse of the actor and the structured, formulaic demand of meter and lyric for the singer. I was also fortunate to be invited to present a workshop, “For The Birds” based on the work I’ve been exploring in my acting studio using peacock feathers as a tool to release physical tension, examine habitual behavior and promote a full physical response to impulse and thought. I worked with 12 upper-level students from the University and the Academy in front of the other teachers attending the conference. This was the first time I’d brought my feathers out in public (so to speak) and I was a bit nervous. I started the session with a question to my 12 Swedish students; how is acting a paradox? Without hesitation 12 hands were raised and the two hours ‘flew’ by. The students were eager, responsive and challenged by many of the same things as our Brind students. The work with the feathers was productive with realizations of emotional power, experience of story telling through song, softening of focus to engage the room and release of constriction helping to free vocal production and musical expression being made by the students. As I reflected on my time with them I was impressed by the support and breadth of knowledge these students brought to their work, being able to articulate and support choices and interpretation with clarity and specificity, and doing so in a foreign language! In comparison I was also left with a renewed commitment and confidence in the acting training that we offer at the Brind School, preparing actors who can reproduce choices made with authenticity and vivid dynamic.
After one of our group discussions in a large rehearsal hall/black box type space the room suddenly went dark. Out of that darkness came the beat of hands drumming on a wooden cube. The lights raised and we were entertained by a group of students from the Ballet Academy in a piece they had created from a current Swedish pop song. Their harmonies were beautiful, their choreography was dynamic and the story they told in language I didn’t understand was engaging and powerful. Whose Art Form Is It, Anyway? – I guess it’s anybody’s with has the drive to make it!
