II - July 21–August 7, 2020
Prior experience in amateur community or high school theatre. As part of their applications, students are required in the personal statements to discuss their theatrical experience and explain what they hope to contribute to the program.
“Each workshop for each of the three elements was incredibly enriching.” – Anoushka J. | New York, New York
This course is designed for students with experience in drama who are interested in exploring the intersection between digital technology and theater. We experiment with new forms of digital collaboration to create original cyber-theater experiences. The course emphasizes the working relationship between writers, performers, and directors as collaborators and co-creators of new cyber-theater material.
Workshops and lectures in the first week introduce students to emerging forms of cyber-theater, digital theater, and telematic theater. Students participate in all aspects of exploration and creation of cyber-theater projects as we build our theatrical vocabulary together. In the second and third weeks, students have the option of specializing in one or more areas: writing, performance, or direction. The remainder of the course is given over to the development of short cyber-theater experiences written, performed, and directed by the students under the supervision and guidance of program teachers. Students work in small autonomous groups to create a cyber-theater experience that is presented live before an online audience at the end of the program.
The majority of the course is taught via synchronous online workshops, which are highly interactive. Evolving material is periodically shared with the entire class for feedback and creative input in a constructive and supportive environment. All asynchronous assignments are to be viewed and worked on during our daily workshop time.
This course affords students a unique opportunity to gain hands-on experience with an emerging and cutting edge form of theatrical collaboration.
Participants should have access to and familiarity with a computer, tablet, or cell phone with a working camera as well as basic audio and video editing software (any software that comes with the device is fine).
Dyana Kimball earned her M.F.A. in directing at Columbia University and her B.A. in English literature at Boston University. She has taught directing, acting, theatre history, and communication courses at Marymount Manhattan College and Dowling College. She has been a guest director at Marymount Manhattan College, Long Island University’s CW Post Campus, and UMass, Lowell, and has been a visiting artist at Vassar College and the University of Alaska in Juneau. Ms. Kimball was the founder and Artistic Director of Boston Directors’ Lab for five years and was a founding member of the New York-based theatre Collective Ontik.
Her New York City directing credits include: Will Eno’s “Oh, the Humanity!” (Marymount); Bertotl Brecht’s “Good Soul of Szechuan” (Marymount); Alice Tuan’s adaptation of Thomas Middleton’s “The Roaring Girle” (CW Post); Thornton Wilder’s “The Happy Journey” (Marymount); Alexis Clements’ “Conversation” (University Settlement) and “Your own Personal Apocalypse” (Chashama); “Numbers” by Kieron Barry (Manhattan Rep.); “Orestes 2.0” by Charles Mee Jr. (CW Post); Georg Buchner’s “Woyzeck” (Central Park); Elmer Rice’s “The Adding Machine” (Theatre at Riverside Church); Bertolt Brecht’s “Baal, Island of Slaves” and Bixby Elliot’s “Love and Literature” (Schapiro Theatre at Columbia); “Library Play” by Paul Cohen (J. Houseman Theatre); “Sill Life” by Emily Mann (Belt Theatre); “Rubber” by Tom Sleigh (RAW Space); and “Chopping” by Magdalena Gomez (HERE Arts Center).
Her regional directing credits include: “Roach, An Adaptation of Kafka’s Metamorphosis” by ONTIK, Philadelphia, PA (Spirit Wind Arts); “Don Giovanni” by Mozart, Juneau, AK (Opera-to-Go); “What Will I Do When You’re Gone” by Neil Bell, Cambridge, MA (The Market Theatre/BTM); “Traveling Naked” by Debra Lake Fortson, Boston, MA (Boston Playwrights Theatre); “Through the Leaves” by Franz Xaver Kroetzk, Boston, MA (BDL); “Transfiguration of Benno Blimpie” by Albert Innurato, Boston, MA (BDL). She is a 2008-2010 member of the Women’s Project Director’s Lab.