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FOUNDED IN 1998, The School at Steppenwolf is a training residency for professional actors to immerse themselves in the ensemble traditions, values and methods that make Steppenwolf unique.
Course Work
The 10 week period is divided into 3 trimesters, running Monday through Friday from 8:00am–5:00pm. Students will study the following acting methods, among others: Viewpoints, Meisner, Improvisation and Feldenkrais, with a strong focus on intensive scene–study. Master classes and audition workshops with ensemble members are also offered. Students are encouraged to attend all performances at Steppenwolf during their residency at the School.
Meisner
Based on the work of Sanford Meisner, one of the most influential American acting teachers of the last century, this class focuses on strengthening the actor's emotional honesty and imagination. At the beginning of the program, the class focuses on truly listening, following impulses, and working off of an acting partner. Through the course of the summer, the class completes a rigorous series of improvisational exercises designed to flex the actor's imagination and practice commitment to high stakes circumstances. Toward the end of the program, the technique is applied to two person scenes. The students learn to work from moment to moment and to trust their instincts.
Improv
The improv class uses improv games and exercises to help the students become more aware of what's going on around them, and in particular to help them realize the importance of playing and understanding inner life and other subtextual things. As part of this, a lot of the class is devoted to playing games about being able to understand what the other players are playing. In this class we do not use the games for learning to be funny.
Viewpoints
Based on the work of Anne Bogart and Tina Landau, this class encourages students to explore the physical and vocal possibilities of time and space. Central to forming a working, fluid ensemble, Viewpoints begins on day one and continues through the entire summer. Coursework covers the nine Viewpoints, and application of them to Composition and Scene Work. Students become more physically present, emotionally open, and free. Often students feel more innovative, and in tune with their fellow actors.
Feldenkrais
Many actors have physical bad habits; this class gently encourages you to rid yourself of their presence. Taught in two methods, group classes and individual sessions, Feldenkrais encourages you to find Awareness Through Movement (or ATM). Your body will re-align, and reconnect, resulting in more emotional openness and physical grounding. During the one-on-one sessions (Functional Integration or FI) the instructor is able to guide you out of your habitual patterns of movement, and into a freer less excessive form of movement.
Text Analysis
During the first trimester of the program students work without text; insuring that everyone starts on the same plane. Text work is slowly introduced into the curriculum in a careful and progressive approach. This 2nd Trimester course encourages students to expand their critical thinking and investigation skills, vocabulary, and familiarity with new types of plays. Work takes place at the table, and on foot; often classes start with discussion and incorporate the actor's first staging instincts. Texts range from Shakespeare to commercial copy. This is truly text analysis for the actor.
Small Scene Study
Ensembles can be as large as 50, or as small as 2; taught in groups of six, this 3rd Trimester course focuses on smaller ensemble scenes. Instructors encourage students to incorporate work from all of their technique classes and apply their new tools to scene work. Scenes range from classical to modern to contemporary texts.
Large Ensemble Scene Study - Balm in Gilead
During the 3rd Trimester the entire 24-student ensemble develops a condensed version of Lanford Wilson's Balm in Gilead. Every student is able to dive into a role, and work with every actor in the entire class. Usually taught/directed by a Steppenwolf Ensemble Member, this class grounds the 10-week program in the Steppenwolf tradition of ensemble.
Professional Seminar
A working actor must be trained to develop artistic skills, as well as professional skills. In a casual discussion setting, this course introduces students to casting directors (from Chicago, New York and LA), agents, prominent Chicago actors, and directors. Students are able to break down audition fears, and de-mystify the casting process. One workshop even focuses on financial planning for the actor.
Monologues
Every actor needs a repertoire of monologues. This course helps students find monologues that work; pieces that show off an actor's best qualities, in an honest, grounded way. After finding which monologues work, students are guided by the instructor (and other guest professionals) to fine tune their piece, and make it audition-ready.
Past Instructors Include
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