Changing Room Featured on Near Say

The Changing Room Opens Its Doors at T. Schreiber

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The Changing Room Opens Its Doors at T. Schreiber - Chelsea - Arts & Culture - NYC

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Event Details: Thu Feb 24, 2011 – 8:00pm at Gloria Maddox Theatre at T. Schreiber ( 151 West 26th St., 7th Floor )

nSports-themed plays have ruled Broadway and Off-Broadway over the past year.  Lombardi, a new play about legendary Green Bay Packers football coach Vince Lombardi, is heading into its sixth month at Circle in the Square Theatre, and the wrestling world play The Elaborate Entrance of Chad Deity wowed audiences last spring at Second Stage Theatre. That Championship Season, Jason Miller’s Tony Award®- and Pulitzer Prize-winning play about four former members of a basketball championship team, opens March 6th at the Bernard Jacobs Theatre with an all-star cast of Brian Cox, Jim Gaffigan, Chris Noth, Jason Patric and Kiefer Sutherland.nnClick HERE to read the entire article in Near Say

Alumni Night

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nnnT. Schreiber Studio presents ALUMNI NIGHT at nnTHE CHANGING ROOM nnby David Storeynnndirected by Terry SchreibernnnnFriday March 4th, 2011nnTickets just $15 for TSS alumni nn_______________________________________________________________n_______________________________________________________________

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Have you done a play with us?nn…well we want you back! nn We are hosting an Alumni Night on Friday, March 4th.nWe invite you to join us to see our second show of the season THE CHANGING ROOM.nnEnjoy CR, visit with old friends, and stick around after the shownfor mixing and mingling at Mustang Sally’sn(324 seventh avenue- between 28th and 29th Streets). Please join us!nAnd if you can’t make the show please consider joining us for a drink!nnUse the code ACR to receive your 25% discountnoff the regular $20 ticket price.nThis offer can only be used on reservations made by phonen(212) 352-3101 or ONLINEn

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Changing Room Takes The Game

We are please to announce we have SOLD OUT for Thursday, Friday and Saturday.

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Sunday (2/27) is your last chance to catch the first week of the Tony award winning play the New York Times hailed as “mysterious and ultimately mesmerizing.”

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For more info and reservations visit our website or call 212.352.3101

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Reactions to the American Theatre Critics Conference

Article about the recent American Theatre Critics Association Conference (featuring panelist Terry Schreiber). Thank you to Jonathan Abarbanel and the WBEZ blog for the  article below (http://bit.ly/gwP0P0)

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Great acting teachers talk about teaching acting

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by Jonathan Abarbanel | Feb. 08, 2011

nSeven of the greatest acting teachers in America conducted a two-hour tutorial last Friday (Feb. 4) for the benefit of the American Theatre Critics Association, holding its annual winter meeting in New York City. Between them, the seven have 250 years of teaching experience and are the heirs to legends such as Harold Clurman, Lee Strassberg, Stella Adler and even–by only one or two degrees of separation–Konstantin Stanislavski himself. They didn’t teach me to act, but I learned a helluva lot about how they work and the principles they value.nnThe panelists included Sanford Meisner disciple William Esper; Lee Strassberg disciple (and one-time daughter-in-law) Sabra Jones McAteer; Harold Clurman disciple Ronald Rand; Michael Chekhov disciple Joanna Merlin; also Terry Schreiber, founder of the T. Schreiber Studio, and independent teacher and author Sande Shurin.nnThe final panelist was Mary McCann, Executive Director of the Atlantic Acting School, perhaps the youngest of the seven. I remember when she was tending bar in Chicago and when Paul Zimet was a local bank teller. Or was it Clark Gregg? The three are among the co-founders of the Atlantic Theatre Company and the Atlantic Acting School, one of the most successful non-profit theatre organizations in New York in the last 25 years, which is how long the company has been around. All the young founders were acting students of David Mamet and William H. Macy who, basically, told them to form a company and go to Chicago (as Mamet and Macy had done) to hone their chops. About eight or 10 of them dutifully did so, spending 1985-1986 in Chicago, working day gigs while staging four or five shows, and collectively writing a book that codified the Mamet/Macy acting technique now known as Practical Aesthetics.nnThe first surprise was that the panelists not only knew one another, but were genuinely respectful and cordial. I expected subtle back-biting. Instead, there was general agreement that actors should use whatever combination of techniques they wish, as long as it’s effective in producing a believable performance that can be sustained over the run of a production, and does no physical harm to the actor. Indeed, the major differences expressed seemed to be more a question of vocabulary or labels than fundamental approach.nnYes, OK, at first a distinction was made between those who begin with the text of the play itself, and those who begin with some more internal or ethereal element, but the two approaches quickly merge. The Atlantic School’s Practical Aesthetics, being derived from the teachings of playwright (Mamet), naturally begins with the text. Mamet is not alone in saying, in effect, “Follow my words, and pay attention to the punctuation, and the role will act itself.” Edward Albee, Harold Pinter, and Samuel Beckett would agree, all sticklers about their words, punctuation and pauses.nnBut actual preparation for a role is well down the road. A would-be actor needs to master some basic chops first, and everyone agreed that all the various exercises really are aimed at two things: freeing the imagination and freeing the physical body. Said Terry Schreiber, “Tension blocks feelings, but it takes time to figure out where the physical tension is centered.” Joanna Merlin said that Michael Chekhov always sought to unlock “the artistic imagination” in each acting student, which she defined as a combination of “the body and the imagination.” All agreed they’d rather have beginning-level students with no experience rather than someone trained into bad habits, whether in high school, college or elsewhere.nnAs each teacher has codified his/her exercises and explanations, several have created a name or label for his/her approach. For the Atlantic Acting School it’s Practical Aesthetics, while Sande Shurin calls her approach Transformational Acting. For students of Sanford Meisner such as William Esper, it’s The Meisner Technique which is derived in turn from “The Method,” that ill-defined and much-abused label traced back through Strassberg and Adler and Clurman to Stanislavski himself. And, of course, when properly taught and learned “The Method” has absolutely nothing to do with mumbling on stage or becoming so lost in an emotional moment you don’t know where you are. If such things occur in a performance, they betray a lack of discipline by the actor. But the bottom line is that this high-powered line-up of teachers all wants the same thing: they want their students to learn to act truthfully under artificial circumstances.nnIn the question-and-answer period, I raised a point. “I’m from Chicago,” I said. “If Chicago actors are known for anything, it’s the ensemble aesthetic. What do you teach or tell your students about generosity? About valuing the effectiveness of the whole over themselves?” Most of the seven answered vaguely that “we talk about ensemble all the time” and “emphasize sharing at every opportunity,” but not one came forward with an exercise he/she conducts with a class to create an ensemble feeling. The focus almost always seems to be one-on-one. I almost felt one of them should say, “I don’t know much about teaching ensemble but I know it when I see it.”nnActing teachers and acting classes sometimes have been the targets of satire. In his final completed play, “Finishing the Picture” (world premiere at the Goodman Theatre in 2004), Arthur Miller took savage comic revenge on Lee Strassberg for his coaching of Marilyn Monroe when Miller and Monroe were married. And what fan of “Will and Grace” cannot recall Jack’s (Sean Hayes) acting class from hell, with its cigarette-puffing teacher and Jack himself teaching his own non-existent technique (“I don’t call it acting, I call it Jackting.”)?nnA great theater critic once described his job as tattooing soap bubbles, in reference to the ephemeral nature of a live performance in which the individual moments come and go in a flash and cannot be precisely recreated again. That’s what makes it so difficult for a critic to describe a performance, and it’s also what makes it so difficult to understand exactly what it is that acting teachers do, even when the finest teachers are explaining it to you. That, at least, is something about which acting teachers, actors and critics can agree.nnP.S. To all casting directors: I’m at liberty and available for work.

Going, Going…Gone!

Changing Room Opening Night is SOLD OUT!nThere’s only a handful of tickets left for the rest of the week.

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Don’t miss out on the FIRST WEEK of the Tony award winning play the New York Times hailed as “mysterious and ultimately mesmerizing.” 

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For more info and reservations visit our website or call 212.352.3101

Reflecting on the Super Bowl

Even though the New York Jets didn’t make it to the Super Bowl XLV, I’ll be watching the Pittsburgh Steelers and the Green Bay Packers drama unfold this Sunday along with more than 100 million viewers! In fact, years ago I was directing at the Pittsburgh Public Theatre when the Steelers won the Super Bowl and the streets below my window erupted in celebration. I’ve been a football fan all my life and a “recovering” high school jock lettering in football, hockey and baseball.  So naturally I was drawn to directing The Changing Room.nnDavid Storey’s Tony Award-winning play set inside a Northern England rugby team’s locker room will open at our theatre on February 24th.  The play blew me away nearly 40 years ago when it premiered on Broadway and took me once more back to the locker room.  I am honored to direct it now, and excited for New York audiences to experience it once again.  The Changing Room uses sport as a metaphor for life, offering a powerful view of how people relate to one another, particularly in the stressful trenches of life.nnWhat’s particularly fascinating about rugby is that off the field, the players – even those on opposing teams — are all mates, grabbing beers after games and joking around with each other.   But, on the field, rival teams are sworn enemies.  It has been a thrill to spend the past few months working on this incredible play and delving into the world of rugby.nnI’m not the only one happy to see sports explored on stage. There’s currently a docu-drama about Coach Vince Lombardi’s life on Broadway, simply titled Lombardi, and That Championship Season is coming to the Great White Way too.  I’m proud that T. Schreiber can be part of the conversation, offering our own intimate view of the sports world through David Storey’s fantastic play, The Changing Room.nnNow, I leave you with one of my favorite Super Bowl moments.nnYears ago the Dallas Cowboys competed for the Super Bowl.  Prior to the game an excited announcer interviewing a Dallas running back queried, “How does it feel to be playing in the game of your lifetime? To which the player replied, “If it’s the game of a lifetime, why are they playing it again next year?”nn– Terry Schreiber

Alumni Night-The Changing Room

T. Schreiber Studio presents ALUMNI NIGHT at THE CHANGING ROOM nnby David Storeyndirected by Terry SchreibernnnnFriday March 4th, 2011nnTickets just $15 for TSS alumni
Have you done a play with us?…well we want you back! nn We are hosting an Alumni Night on Friday, March 4th. We invite you to join us to see our second show of the season THE CHANGING ROOM. Enjoy CR, visit with old friends, and stick around after the show for mixing and mingling at Mustang Sally’s. Use the code ACR to receive your 25% discount off the regular $20 ticket price. This offer can only be used on reservations made by phonen(212) 352-3101 or ONLINEn The evening will continue for alumni in attendance at Mustang Sally’s (324 seventh avenue- between 28th and 29th Streets). Please join us! And if you can’t make the show please consider joining us for a drink!

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