Faulkner & Co.
About
I offer directing for solo artists and ensemble work.
For those looking for acting and theater training, I also offer beginning and advanced training in acting, mime, movement, improvisation and devising.
I have worked with many world class solo artists, including actors, storytellers, mimes, clowns, magicians, and more.
I was trained by the master mime artist Tony Montanaro, and was the owner of Celebration Barn Theater for many years.
I have experience in applying effective methods gleaned from years of study, methods that truly empower the performer. This work provides actors and performers the transformative ability to eloquently use gesture, blocking, and physical characterization to create high level theater experiences.
Theater and film offer an infinite array of possiblities for creative work.
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Thomas A.
Bernard K.
Kuniko Y.
Frequently asked questions
What is your typical process for working with a new student?
First we discuss expectations, and needs.
If it is to learn technique. We start by building a physical vocabulary. Beginning with basic warm-ups, movement and mime concepts, and essential drills.
If it is for devising and developing new work or existing work, the work is demonstrated, analyzed, and broken down into the main beats and patterns intrinisic to the performance.
This information is recorded as index cards and notes are given for development and for expanding the work. Using gesture, blocking, and voice as the building blocks an eloquent performance is built using graphics, physical metaphor, and characterization.
If it is for film or media related work, the process is similar except the technique of acting for the camera is developed.
What education and/or training do you have that relates to your work?
I have trained with Tony Montanaro as an apprentice, and as a performing partner for three years.
I have studied with Jacques Lecoq, taught with Bari Rolfe, studied improvisation with Keith Johnstone.
As the Artistic Director and Owner of Celebration Barn my work has been informed by the master artists I have brought to summer institutes. Including, Bari Rolfe and her work with the neutral mask, Dr. Andrew Tsubaki and his work with traditional Japanese theater, Commedia D'ell Arte with Lydia Biondi, Fight Masters David Leong, and Allen Suddeth, and the vocal/physical performance process of The Roy Hart Theater.
Finally I have a degree in Motion Picture Studies from Brooks Institute, and understand how to produce media from first shot to final release.
Do you have a standard pricing system for your lessons? If so, please share the details here.
Mime and Acting, the vocabulary $100.00 per Hour
Master Class in Devising and Performance Analysis $100 per hour.
How did you get started teaching?
Tony Montanaro gave me my first opportunity to teach at The International Mime and Movement festival when I was his performing partner.
What types of students have you worked with?
Professional actors, singers, mimes, storytellers, magicians, vaudevillians, clowns, musicians, high school students, at risk youth, established artists, and corporate clients.
Describe a recent event you are fond of.
Art Week at Leavitt High School.
Artists in a variety of disciplines teach workshops for a week, and at the end of that time the students perform on stage for their peers. It is always great to work with students in their own environment, and for them to get validation by presenting to their own social group. The other plus is the pollination of ideas when the artists mingle and share. This has been an annual event for some years, and never fails to inspire.
What advice would you give a student looking to hire a teacher in your area of expertise?
Work with someone who is seeking to make you more authentic not trying to impose a given set of rules.
Further more, make clear choices about what you want to learn and create.
Next find someone who has a great reputation, and is a true master teacher in their discipline or disciplines.
Finally, as a student, have a premise and persevere. Some techniques that appear to be simple, actually have a complex under structure that requires daily practice and a qualified guide to learn. A little work with the mind/body connection, and an investment in sweat equity pays off exponentially for those that are fully committed.
What questions should students think through before talking to teachers about their needs?
How can apply your work to my own?
What do I need to master to do that?
How can I mark my progress?
What will I do with what I develop?