3rd year

Acting Technique

The focus of the 3rd year of training is how, as a performer, do I obtain personal and artistic ownership of all the techniques I’ve learnt? How do I strive to become, not only a very skilled actor, but a truly creative artist?

You’ll work with scenes within different performative media, and productions within different genres, collaborating with a series of experienced directors.

The student practices further utilising his/her methodic tools in a confident and independent way, and he/she is encouraged and guided to cultivate an acting method that suits his/her particular artistic temperament.

Apprenticeship

The student is guided to finding a professional opportunity for apprenticeship within any performative medium (theatre, film, TV, internet, radio).

The aim is for the student to gain additional professional acting experience and extending his/her network. Previous students have had their apprenticeship in as various places as Copenhagen, Odense, Holstebro, Ebeltoft, Reykjavik, New York, Cape Town and London.

Final exam

The CISPA training is completed with a final production, directed by a guest director. The actors work with a modern theatre piece during a 10 week rehearsal period, resulting in a production, which is presented to an invited audience of industry members and other guests. An assessment panel, consisting of both internal and external teachers/directors and the artistic directors of CISPA, evaluate the actor’s final performance.

Subsequently, the graduating performers will receive their diploma.

Additional Training

Singing

We work on opening up and freeing the voice as organic resonance, rather than a beautified kind of singing.

We focus on expanding the vocal qualities and registers of each student in order that the singing voice and the content of a given song be rooted in the individual. We explore and interpret the content of different songs, aiming to steer clear of cliché and imitating possible musical idols. Conversely, we strive to implement the same principles of authentic expressivity applying to acting technique and the physical training. Furthermore, we examine the correlation between voice and bodily movement, corresponding with core elements of the Movement Psychology classes. In 2nd and 3rd Year, we increasingly focus on expanding and implementing the individual student’s organic vocal sound and qualities in a dramatic context, thereby bridging the singing classes with his/her stage performances

Voice training

The acoustics of the voice and speaking are an organic extension of our individual personalities.

We focus on the breathing, posture and bodily support, thereby anchoring the speaking voice in the body. Having become confident with the free flow of the voice from the body, the actor gradually enables him/herself to inhabit a character both in terms of voice qualities and articulation. In 2nd and 3rd Year, we work increasingly with expanding and implementing each student’s organic vocal qualities in a dramatic context, thereby bridging the voice class with the student’s stage performances

Movement Psychology

In the 2nd and 3rd Year, we work purposefully with implementing the fundamental physical training within the Laban/Malmgren technique, obtained during the previous training, in the character transformation, the ensemble work, and a specific scenic language.

We seek for the student to have a personal experience of transcendence, i.e. surpassing his/her habitual perception of Self in a state of flow (”the creative state of mind”), through this physical/intuitive exploration of character, scene and performance, and yielding his/her performance to the greater picture as an correlative component in an ensemble composition. We work continually with expanding each student’s physical/mental comfort zones and creative adroitness in reciprocation with scene partner(s), ensemble and audience.

Dance

We continue to work with Classical Ballet as a foundation for Contemporary Techniques with increased focus on musicality, dynamics and expressive quality.

The Dance classes are taught by choreographer and dancer Henriette Lange. They consist of both Classical Ballet, Contemporary Technique and Improvisation. The aim of the class is to give a strong technical base and body awareness, and to experience the body-mind connection through dance. Henriette Lange has developed her own dance training methods, and specialised them for actors. They’re inspired by various techniques, in particular Horton, Cunningham, Gaga and Classical Ballet. The class has a high focus on the individual, working on weaknesses and strengths, and unlocking the unique movement potential of each students at whatever level he/she is at.

All classes incorporate bar and floor work, exercises through the space, and rehearsing specific choreographies. We always focus on relating to music, including the music of the body.

In the 3rd Year, we work with an increasing choreographic complexity, dealing with both character and dramatic storytelling as an integral part of choreography.

Watch the video

Movement

The MOVEMENT classes at CISPA are closely linked to the MOVEMENT PSYCHOLOGY classes (Laban/Malmgren technique).

Mainly, we train our core strength, stamina, honing the senses, quality of movement and  undergo a systematic training of the the actor’s expressivity within the different spatial dimensions. A training of physical scales, equivalent of the bar work of the ballet dancer, or the piano scales of the pianist. The movement classes run continually throughout all 3 years of training.

Scene Study

Using the work of the great playwrights, the class is an exploration of the practical application of all the classes taught at CISPA into a cohesive, creative whole on a specific text.

The emphasis is on a comprehensive and detailed methodological way of working on a given play. The actor’s ability to investigate the text and apply the training themselves, autonomously, is given the highest importance.

Theatre History

The Theatre History class is both analytical and practical in its approach.

We research and work with all theatre historical periods from Greek Tragedy to Modernism. With historical factuality as the starting point, we constantly put our research into perspectives relating to what it means to us as actors and artists today. In addition, we work with dramatic scenes from all periods and genres, aiming to make all tuition practically applicable and inspiring for the actor.

Classical Production

The students take on the challenge of a great Classic by e.g. Shakespeare, Molière or Euripides in what comes close to a professional productions.

We approach the classical text and its characters with respect, but no awe, working with rhetoric and style as well as an authentic/organic expression. The heightened, lyrical text and the larger-than-life characters possess an inherent force, which the student practices embodying through the methodological work and harnessing in a consciously rhetorical and choreographic expression. The classes in Rhetoric and Classical Text during the 2nd and 3rd Year culminate in this production.

Devising

Many of the most exciting and successful companies of recent years use devising technique in the process of creating their shows.

Just to name a few: Needcompany, Théâtre de Complicité, Forced Entertainment, The Wooster Group, Frantic Assembly and in Denmark: Cantabile 2 and Mute Comp. Although very different in artistic expression, they have many other aspects in common than the devising-process: they are all ensembles comprised of various nationalities, and they are all renowned for their originality and their cross-disciplinary approach to theatre. At CISPA we capacitate our students to enter into this kind of artistic context.

Devising places the responsibility for the creative process on the ensemble (including a director), as the performers themselves create the original material, out of which the show is moulded. Mainly through improvisations that may be character-based, and may take as their starting point specific themes, unusual spaces, specific props, choreographic components, music and so on. Often, several such elements are combined into a coherent expression.

The aim, from a training point of view, is for the student to practice taking artistic and creative responsibility, rather than passively adapting to a given director’s vision and directions.

Improvisation Technique

Improvisation technique, which the students have been thoroughly acquainted with already from the beginning of the 1st Year, remains an important acting tool throughout their training. The focal point continues to be the actor’s spontaneity and free flow, with an increasing awareness of artistic expression.

Cross-Disciplinary Collaboration

Many of the most exciting and successful companies of recent years base their productions on  devising technique and cross-disciplinary collaboration.

Just to name a few: Needcompany, Théâtre de Complicité, Forced Entertainment, The Wooster Group, Frantic Assembly and in Denmark: Cantabile 2 and Mute Comp. Although very different in artistic expression, they have many aspects in common: they are all ensembles comprised of various nationalities, and they are all renowned for their originality and their cross-disciplinary approach to theatre. At CISPA we capacitate our students to enter into this kind of artistic context.

The CISPA students train to become actors. Not dancers. Not singers. However, it’s an important part of the training to be able to participate confidently in cross-disciplinary collaborations, that integrate e.g. dance, music, singing and choreographic components in a production or project. Furthermore, we aim to nourish whatever alternative artistic interests each student may have (e.g. visual arts, music composition or instrumental talents) and, when possible, to include these in the student’s training, showings and productions.

Career Guidance

On different levels, the 3rd Year is designed to enable the students to confidently launch their careers after graduating.

Primarily, in terms of taking personal and artistic ownership of their methodological training. However, an essential part of the life as an actor is taking ownership of your career, even – or especially –  when it’s an uphill struggle.

During the 3rd Year there are different measures to this effect, e.g. workshops with casting agents; counselling regarding your personal PR-material; courses in entrepreneurship, fundraising, project management, PR etc; workshops in cross-disciplinary collaboration; talks with former students and other professional performers, directors etc.

CISPA strives to offer a training qualifying the actor to challenge habitual thinking, not only in terms of performing arts, but also in terms of career opportunities, and to create new ways of researching, devising, managing and implementing projects.

Writing Styles

what makes a text? what is fiction? what is non-fiction? what is scholarly? what is an essay, article, interview, blog? how to make references and cross-references?

  • use of punctuation
  • the length of the text: number of words, number of characters/ length of sentences/ a sentence, a paragraph, a chapter, writing a draft
  • writing a project proposal: idea, conception, draft, executive summary, description and argumentation, target reader/audience, title
  • CV, resume, cover letter, recommendation letter
  • thesis: essentials of academic writing
  • how to choose a subject? how to choose methodology? how to conduct research? how to find the most relevant material? how to draft a thesis? how to structure a thesis? how to make references in your text?

TASKS:

  • Find a real application, and write your own project proposal
  • Writing your abstract for + final thesis.