BFA Ensemble Training Modules (12 each)

PFAR 210, PFAR 260, PFAR 310, PFAR 360, PFAR 480
Each BFA Ensemble Training Module is a progressive, interdisciplinary sequence in dance, acting and voice applicable to creating original work and includes training in exercises and techniques developed during the last fifty years of performance, as well as strong elements of research. Each module represents approximately 80 hours of voice training in practices such as Estill, Roy Hart and Linklater method; 80 hours of dance training in forms inspired by artists of the postmodern movement and beyond, with courses in Contemporary Dance Technique, Contact Improvisation, Body/Mind Centering, Spontaneous Composition and World Forms; and 100+ hours in actor training and devised work, including work in Physical Acting, Grotowski, Viewpoints, Script/Text Analysis, Self-Scripting and Project Development. Across all disciplines, students are encouraged
to discover their own creative process, participate in ensemble creation, direct elements of their own training, consciously choose techniques and develop a contemplative approach to the
creative process.

Modules average 18 hours per week of total instruction with periods of evening and weekend rehearsal as required. All modules are offered on a three-day schedule (Mon/Wed/Fri or Tues/Thurs/Fri) with six-hour training slots per day.

PFAR 210 & PFAR 260
First Year Training: Ground—Modules I and II
The first year lays the ground by tuning the body, which is the instrument for all disciplines, with an emphasis on movement practices, kinesthetic awareness, functional anatomy and kinesiology. Once grounded in this frame, students begin to cultivate imagination, trust in internal impulse and foster a relationship to creative action. Students begin the practical exploration of the connection between body, voice and imagination. At the end of the first semester, students show works in progress and the end of the second semester concludes with a faculty or guest artist–directed ensemble performance.

Acting: Body, Voice, Imagination and Integration
Training focuses on development of the ensemble creative process. Students gain support in the development of their creative aesthetic through individual and group exercises, with training based in the exploration of contemporary physical theater techniques. Potential examinations include Grotowski, Suzuki, Viewpoints and Viola Spolin. Students begin examining the play of imagination and impulse through the body as well as exploring connections between voice and movement, structured improvisation, composition and self-scripting. The first semester focuses on freedom of emotional expression and the ability to recognize and trust impulse and the body as a means to access imagination and emotion. The semester culminates in a public workshop showing of student work. The second semester deepens the exploration of the foundations laid out in the first semester and concludes with a faculty or guest artist–directed ensemble workshop performance.

Dance/Movement: Bones, Body and Mind
Using contemporary dance technique, dance improvisation and borrowing from movement practices such as Feldenkrais, Pilates and Alexander techniques as vehicles to synchronize body and mind, this training invites dancers of all levels to work with relaxed precision while dancing. An early focus on strength through alignment and efficiency tunes the body with awareness and ease allowing for individual expression in choreographed and improvised dance material. Students are introduced to both classical and unconventional techniques for preparatory and extended dance training with a playful eye and deep exploration into placement, space, shape, dynamics, rhythm, sequence memory and the ongoing interplay between self and other. Students work within the ensemble to perform choreographed material presented in class.

Voice: Image, Self and Sound
For control, variation and nuance in singing and speaking, one must have an image and sense of the larynx and respiratory system that is complete, functional and supple. However, even for accomplished singers, speakers and voice scientists, this area of our self is one of the least represented in our self image, and as a result the sounds and sensations associated with this area of our bodies are often highly conditioned and habitually undifferentiated. We explore and make sensorial distinctions in other more clearly represented areas of the self, as well as the larynx, head and neck, and torso, in an attempt to fill in the image necessary to create the many sounds possible for singing and speaking, with an emphasis on awareness, self-discovery and organic learning. The course is organized around basic developmental movement patterns as well as patterns of speech and singing development. Out of this deep and rich exploration emerge distinctions in sound and sensation, movement and orientation that gradually become more and more clear, conscious and usable in life and performance. Applications include improvised and self-composed work.

PFAR 310 & PFAR 360
Second Year Training: Path—Modules III and IV
Students build on the foundational skills acquired in the first year, deepening them into dependable performance tools. They continue to explore and articulate their personal artistic vision through history and context as well as advanced studio work. Through study of critical theory and development of an analytical lens, students begin to establish their work in the context of community and society. Students explore more fully the lineage of performance, including a deeper exploration of Naropa’s heritage and the fusion of contemplative traditions. At the end of the third semester, students perform self-created works, offering them to the community at large. The fourth semester culminates in a directed ensemble-based performance project.

Acting: Technique, Scene Study and Devised Work
Training focuses on technique work designed to enable students to create performances that are intelligently conceived, emotionally engaging and physically precise. The work concentrates on action-based script analysis, character creation, emotional crafting, scene study, composition and devised work creation techniques. Students explore the application of techniques and differences between applying technique to a completed script and their own work. We continue exploring techniques introduced in the first year and delve into new territories such as training in Sanford Meisner’s Technique, including repetition work, and Michael Chekhov’s physical and imagination-based method. At the end of the third semester, students perform self-created fifteen-minute works in progress. The fourth semester culminates in a faculty or guest artist–directed ensemble-based performance project.

Dance/Movement: Time, Place and Reason
Continuing with relaxed precision in technical training and deep exploration of working with choreographed material, students investigate the numerous ways in which dance improvisation can inform the body, mind and form. Borrowing from the traditions of artists such as Merce Cunningham and John Cage, Judson Church and the Grand Union, we explore the relevance of postmodern dance improvisation techniques and contemplative practices. These points of views are discussed and put into place to help dancers heighten their sense perceptions, identify self, other and object, while manipulating time, space and form.

Voice: Variation and Organization
The second year builds on the sensory experience of the previous year with an emphasis on naming the sensations and organizing them into a functional, conscious vocal whole. We use the Estill Voice Model as our organizing system and begin to differentiate between more and more complex vocal options and qualities while practicing an awareness of the whole self. Topics such as artistry, diction, style, vocal variation and learning music are in the foreground, as well as performance and use of whole self while learning, practicing and performing.

PFAR 480 & PFAR 489
Third Year Training: Fruition—Module V and Performance Final Project
The upper-level curriculum, divided between the final BFA Module and the Performance Final Project, allows for more space to work creatively on final projects, and builds on the first two years of training through advanced technique work and exposure to a range of performance styles in theater, dance and music. This allows the students to lay claim to their artistic vision and begin to see themselves as young-warrior-artists-in-training, a view of gentleness, discipline and vision based in Naropa’s contemplative arts tradition. Students work closely with faculty mentors and artists within the community outside of Naropa. Specific course and workshop offerings change from year to year and are based on the needs and special interests of the ensemble. See also: PFAR 489, Performance Final Project.

Acting: Facing Outward
Focuses on building on the first two years of training through advanced technique work, lineage and cultural context and exposure to a range of performance styles in theater, dance and music. The training options change from year to year, depending on the needs and special interests of the third- and fourth-year students. Students may participate in ensemble-created production work, guest-directed production work or independent production.

Dance/Movement: Facing Outward
Continuing with physical technique training as well as deepening improvisational skills and awareness techniques, third-year students begin to work on compositional skills.
We work with scores, improvisation and more traditional compositional approaches. Through the lens of composition, students work with other artists, including musicians, visual artists and videographers, to create solo and or ensemble dance works for performance. 

Voice: Facing Outward
The third and final year focuses primarily on performance—bringing all of the pieces of awareness together to create a clear intention while singing, speaking and performing. Applications include experiments designed to test and integrate learning and practicing in performance, in-class coaching and work on final projects.