UNDERGRADUATE COURSES
Meisner Technique
An introduction to one branch of Stanislavski based acting training utilizing the philosophy and exercises developed by Sanford Meisner.
“Melanie Dreyer is one of the best instructors I have ever had the pleasure of taking class with and I would go so far as to say the best in the theatre department. Not only is she completely approachable on an individual basis, but she also manages to incorporate her extensive knowledge in theater to every class, often branching out to other topics.”
Directing I
How to read a play and develop a point of view, working with associative
images, basic staging technique, coaching actors, communicating with designers,
how to read a ground plan.
Major strengths? – “Communication skills, wealth of knowledge and real world experience.”
Directing II
A deep interrogation of style and artistic vision, exposure to new writing
styles, intensive training in how to work with actors, working with designers
on a final project.
“She pushed us when we did not want it. Brought out the best in everyone.”
Movement for Actors
An overview and application of a variety of movement tools applied to the creation of character including: detailed body language analysis, Viewpoints, Alexander Technique, and Rasaesthetics.
“Movement for the Actor has been my favorite class at Cornell thus far. I loved it, I loved the material, I loved the content, everything. PERFECT.”
Voice and Speech for Performance
A rigorous beginning vocal technique class that emphasizes proper use of breath, volume, diction, resonance, tone, musicality, and the synthesis and application of these skills in performance.
“Melanie is a master of theatre and definitely knows her stuff when it comes to voice.”
Acting the 20th Century
An examination of the performance demands of three genres of writing within this period: Realism (Ibsen and Chekhov), Absurdism (Beckett and Pinter), and Political Theater (Brecht and Ping Chong).
Major strengths? – “First, she is extremely knowledgeable in the course material. She comes every day ready and is willing to give more if we give more. And also just enjoyable to work with.”
Acting the 17th, 18th, and 19th Centuries
An intense study of one of the primary performance styles in each of the centuries covered. 17th Century –Commedia dell ‘Arte, 18th Century – Comedy of Manners, 19thCentury – Melodrama.
Most beneficial? – “The ability of the professor to explain things to me in a clear, concise manner. She rocks and so does this class.”
Introduction to Acting
A basic acting course open to non majors coverings rudimentary use of the voice
and body on stage, improvisation technique, and beginning scene study.
Acting I
An introduction to basic acting principles, work on relaxation, recognition of the inner impulse, talking and listening, identifying the needs of the character, playing acting, and an initial approach to a role.
“She was a wonderful professor and was definitely one of my favorite instructors at Cornell. She wanted to connect with students, was always available for extra coaching, and gave us feedback all the time. I would definitely take another class with her.”
Acting II
Advanced work on the emotional life and needs of a character, work on emotional availability under complex circumstances, utilizing obstacles, beginning work on physicalizing character choices, beginning work on comedy.
“Melanie is an excellent instructor and is a storehouse of information. She was able to adapt to the needs of the class and form lesson plans based on the goals of our projects. This is the first acting class where I can say I learned A,B, and C, and am comfortable enough o apply what I learned to future performances.”
Major strengths? – “Stimulating thinking to a very high degree.”
Acting III
Advanced characterization, making specific physical and vocal choices in character development, beginning work on styles: Chekov, Miller, Pinter, Beckett, Shepard, Mamet.
Major strengths? – “She has an amazing ability to gear her material specifically to individual students’ weaknesses.”
Acting IV
Work with period styles: Greeks, Shakespeare, Restoration Comedy, Farce. Examining the historical/social context of various periods of dramatic writing and learning to make informed physical, emotional and stylistic choices within this context.
Voice and Movement I
An introduction to physical and vocal use of the body in creating a character, relaxation technique, beginning vocal technique, gesture isolation, character development from a physical rather than a textual starting point.
Voice and Movement II
An examination of period styles of movement including Commedia dell’Arte, Shakespeare and Comedy of Manners.
Introduction to Musical Theater
Preparing and delivering an audition, acting a song, characterization, ensemble and
chorus work.
How to Audition
Choosing and preparing monologues, successful cold readings, marketing strategies: unions, headshots and resumes, agents, beginning on-camera technique.
An introduction to one branch of Stanislavski based acting training utilizing the philosophy and exercises developed by Sanford Meisner.
“Melanie Dreyer is one of the best instructors I have ever had the pleasure of taking class with and I would go so far as to say the best in the theatre department. Not only is she completely approachable on an individual basis, but she also manages to incorporate her extensive knowledge in theater to every class, often branching out to other topics.”
Directing I
How to read a play and develop a point of view, working with associative
images, basic staging technique, coaching actors, communicating with designers,
how to read a ground plan.
Major strengths? – “Communication skills, wealth of knowledge and real world experience.”
Directing II
A deep interrogation of style and artistic vision, exposure to new writing
styles, intensive training in how to work with actors, working with designers
on a final project.
“She pushed us when we did not want it. Brought out the best in everyone.”
Movement for Actors
An overview and application of a variety of movement tools applied to the creation of character including: detailed body language analysis, Viewpoints, Alexander Technique, and Rasaesthetics.
“Movement for the Actor has been my favorite class at Cornell thus far. I loved it, I loved the material, I loved the content, everything. PERFECT.”
Voice and Speech for Performance
A rigorous beginning vocal technique class that emphasizes proper use of breath, volume, diction, resonance, tone, musicality, and the synthesis and application of these skills in performance.
“Melanie is a master of theatre and definitely knows her stuff when it comes to voice.”
Acting the 20th Century
An examination of the performance demands of three genres of writing within this period: Realism (Ibsen and Chekhov), Absurdism (Beckett and Pinter), and Political Theater (Brecht and Ping Chong).
Major strengths? – “First, she is extremely knowledgeable in the course material. She comes every day ready and is willing to give more if we give more. And also just enjoyable to work with.”
Acting the 17th, 18th, and 19th Centuries
An intense study of one of the primary performance styles in each of the centuries covered. 17th Century –Commedia dell ‘Arte, 18th Century – Comedy of Manners, 19thCentury – Melodrama.
Most beneficial? – “The ability of the professor to explain things to me in a clear, concise manner. She rocks and so does this class.”
Introduction to Acting
A basic acting course open to non majors coverings rudimentary use of the voice
and body on stage, improvisation technique, and beginning scene study.
Acting I
An introduction to basic acting principles, work on relaxation, recognition of the inner impulse, talking and listening, identifying the needs of the character, playing acting, and an initial approach to a role.
“She was a wonderful professor and was definitely one of my favorite instructors at Cornell. She wanted to connect with students, was always available for extra coaching, and gave us feedback all the time. I would definitely take another class with her.”
Acting II
Advanced work on the emotional life and needs of a character, work on emotional availability under complex circumstances, utilizing obstacles, beginning work on physicalizing character choices, beginning work on comedy.
“Melanie is an excellent instructor and is a storehouse of information. She was able to adapt to the needs of the class and form lesson plans based on the goals of our projects. This is the first acting class where I can say I learned A,B, and C, and am comfortable enough o apply what I learned to future performances.”
Major strengths? – “Stimulating thinking to a very high degree.”
Acting III
Advanced characterization, making specific physical and vocal choices in character development, beginning work on styles: Chekov, Miller, Pinter, Beckett, Shepard, Mamet.
Major strengths? – “She has an amazing ability to gear her material specifically to individual students’ weaknesses.”
Acting IV
Work with period styles: Greeks, Shakespeare, Restoration Comedy, Farce. Examining the historical/social context of various periods of dramatic writing and learning to make informed physical, emotional and stylistic choices within this context.
Voice and Movement I
An introduction to physical and vocal use of the body in creating a character, relaxation technique, beginning vocal technique, gesture isolation, character development from a physical rather than a textual starting point.
Voice and Movement II
An examination of period styles of movement including Commedia dell’Arte, Shakespeare and Comedy of Manners.
Introduction to Musical Theater
Preparing and delivering an audition, acting a song, characterization, ensemble and
chorus work.
How to Audition
Choosing and preparing monologues, successful cold readings, marketing strategies: unions, headshots and resumes, agents, beginning on-camera technique.