Institute for Advanced Theatre Training
Encyclopedia
The A.R.T./MXAT Institute for Advanced Theater Training at Harvard University was established in 1987 by the American Repertory Theater (A.R.T.) in Cambridge
, Massachusetts
, United States
. The Institute is a training ground for the professional American theater. In 1998, the A.R.T. Institute for Advanced Theater Training began an exclusive collaboration with the Moscow Art Theater School
(MXAT). The union of the two schools has created a historic program that provides unparalleled opportunities for training and growth. The Institute's program is one of the top ten graduate theater programs in the United States.
The wide range of courses given by the international faculty offers students unique preparation for the multi-faceted demands of the professional theater. The Institute program simultaneously respects the great traditions of the past and encourages the development of new ideas and forms of expression. In the past, Institute productions and workshops have developed into A.R.T. Mainstage shows. Upon graduation, students receive a Certificate of Achievement from Harvard University
and a Master of Fine Arts (M.F.A.) from the Moscow Art Theater School
. The MXAT School is fully accredited by the Education Department of the Russian Ministry of Culture.
Each year, approximately twenty-three carefully selected students are admitted for a full-time, two-year, five-semester program of study in acting, dramaturgy, or voice pedagogy. The Institute accepts inquisitive student artists whose talent, enthusiasm, intelligence, and cultural curiosity can pioneer and lead the theater of the future. The two-year Institute cirriculum combines study in Cambridge
, Massachusetts
with a three-month residency at the Moscow Art Theater School
. Students begin their training in mid-July in Cambridge and spend the spring of their first year in Moscow, returning to Cambridge for the fall and spring of their second year. Both in Cambridge and overseas, students participate six days a week in formal classes, rehearsals, and special projects morning, afternoon, and evening.
In Cambridge, Institute students play an integral role in the A.R.T. community, working alongside the professional acting company and guest artists in both rehearsals and the classroom. Throughout the season, some students have the opportunity to appear in A.R.T. productions. In Moscow, students continue classes and workshops with members of the Russian and Cambridge faculties. Each year, one Institute production joins the spring repertory of the Moscow Art Studio Theater. As members of the MXAT community, students have the opportunity to attend performances at Moscow's two hundred theaters and studios. The also meet backstage and in class with directors, actors, playwrights, critics, and other prominnt members of the Russian theater community. In the past, Institute students have toured their productions throughout Europe, performing in Russia, Italy, Germany, and Switzerland. In addition to performances during the students' academic year, graduating second year students also put on a series of showcase performances in Cambridge
, New York City, New York
and Los Angeles
to aid their transition into professional work.
Up until 2003, the Institute also hosted a well-respected directing program, begun by Robert Brustein
in the 1980s. Alumni of this program include Kate Whoriskey
, Jeff Zinn, Bart DeLorenzo
, and 2007 Ford Fellow
Tina Landau
.
In the fall of the first year, students focus on the work of Sanford Meisner
and the acting theory developed by David Mamet
and William H. Macy
known as Practical Aesthetics
. This work is designed to help students replace intellectual ideas with impulsive, spontaneous choices as engendered by focus on and responsiveness to the actor's partner. Fall and winter classes involve extensive scene study, encouraging students to explore a wide range of alternative methods for identifying playable actions. Classes also explore the ways in which analytic approaches free students' creativity and imagination and expand their range of behavior. At this point, the students' work also begins to move beyond the boundaries of realism into other performance styles such as commedia. All acting classes and workshops are closely integrated with training in voice, speech, and movement. These combined skills provide each actor with a number of approaches to solving the many challenges of professional theater.
After the summer term of their first year, students begin spending more time in rehearsal and performance. The faculty carefully monitors this shift from classroom to stage through an Institute seminar in actor-director communication and collaboration that addresses the rehearsal issues of student workshops. During the three-month residency in Moscow, students will continue their training in acting, movement, and voice with Russian and American master teachers. In the second year, back in residence at the A.R.T., students focus on applying the technical training of the first year to a wide variety of styles and genres. Classes focus on Greek, Shakespearean, and Brechtian plays. During their two years at the Institute, students are directed by guest directors, faculty members, and internationally acclaimed guest artists. Students also have opportunities to perform and understudy in A.R.T. productions, although acceptance into the program is not a guarantee of working on the Mainstage. These opportunities usually arise during the second year of training. Students may also perform in staged readings or workshops of new scripts being developed by the A.R.T. Because both the A.R.T. and MXAT are international institutions, students gain a unique perspective on world theater and learn how to define their own places in the professional community.
The goals of the actors' voice training curriculum are to expand the individual actor's use of his or her instrument and to apply this optimized usage of the voice to acting technique for honest, spontaneous, dynamic and healthful expression of the inner life in action. The study of body awareness, breath and support, vocal placement and range, speech and dialects, Shakespeare text, and both choral and individual singing will help the student maximize his or her vocal capabilities on the physical, intuitive, and intellectual level. These separate yet intertwined aspects of vocal study will give the student the flexibility to approach texts both inside and outside the realm of colloquial speech, while remaining intimately connected to personal truth. Each student will receive a combination of classes, voice labs, and individual coaching sessions during the five semesters of training.
The goal of the actors' movement training sequence is to guide actors toward a spontaneous freedom of impulse, precision, and expressivity of motion. Through this program, the actor learns how to use the physical self and develops a large vocabulary based on an understanding of what is common to all bodies and what is unique to his or her own. Work in specific movement teaching guarantees the student the skills necessary to create roles and work in various styles. Students will create their own movement vocabulary and maintenance program to follow throughout their career. Study includes psychophysical exercises, Meyerhold's biomechanics, Vakhtangov's plasticity training, Grotovski training, individual and partner acrobatics, unarmed stage combat, fencing, classical and historical dance, slow motion, impulse work, Viewpoints, Dalcroze Eurythmics, style and genre explorations.
During the first semester of training, the voice students will track all incoming students of the program, taking acting, movement, history, and Russian language with the Moscow Art Theater faculty in residence in Cambridge. Voice and singing are also required, taught by American faculty. The first year, a voice student will take both first and second year vocal productions, speech, Shakespeare text, and dialects. He or she will attend selected first-year acting classes as an observer and voice coach. The student will continue to study singing, Russian language, and theater history. The first year voice student will be the primary coach on a variety of Institute productions of increasing complexity as well as assist on coaching one or two A.R.T. Mainstage productions. With the exceptionally experienced voice student, some teaching or individual coaching may be required during the first year.
The second year voice student continues to take both the first and second year voice curriculum. He or she will attend second year acting classes as observer and coach, as well as continuing with singing and theater history. The second year student will coach several Institute productions and assistant coach one or two A.R.T. Mainstage productions. He or shw will be the primary coach on at least one A.R.T. Mainstage production. The second year student will teach a course called Voice Lab for the first year students and continue with individual problem solving for both the first and second year actors. In March of the second year, the voice student will travel to Moscow with the first year students, where he or she will be the teacher of voice, speech, and Shakespeare text, as well as coach a show rehearsed and performed at the Moscow Art Theater School. Other teaching opportunities in Moscow may arise as well. Both first and second year voice students will take a weekly voice seminar to discuss theory and application of teaching and coaching technique as well as problem solve challenges as they arise.
One or two qualified students will be accepted into the program each year. Prospective candidates should have a working knowledge of various voice and speech pedagogies, some coaching experience, and a strong interest in theater as a collaborative art form.
In Cambridge, students spend mornings in class and afternoons in rehearsal for Institute workshops and A.R.T. productions. In Moscow, students are taught by Russian dramaturgs and critics and assist in the development of Institute productions. Students also have an opportunity to attend numerous productions by Russian and foreign troupes. With hundreds of theaters and important arts festivals, Moscow offers students an unparalleled opportunity to round out their education by experiencing great theater every night. Our students apply immediately what they learn in classes in the context of two world-renowned professional theaters. Given the broad-based nature of their training, our students have gone on to careers in dramaturgy, playwriting, academia, film and theater script development, and theater criticism.
Dramaturgy students also have opportunities to serve as paid Teaching Assistants for Dramatic Arts courses at Harvard University. Dramaturgy students take the following required courses over their two years of study: Dramatic Structure, Theories of Representation, Aesthetics, Dramatic Literature, Theater History, Practical Dramaturgy, the History of Set Design, New Play Development, Season Planning, Russian Language and Culture, Translation and Adaptation, Writing for Publication, Public Speaking, 19th and 20th Century Russian and European Theater, the History of the Institutional American Theater, and the History of Dramatic Criticism. Dramaturgy students also have the opportunity to audit lecture courses at Harvard University. Students complement their academic study with intensive practical work, including dramaturgical support of productions at the Institute, American Studio of the Moscow Art Theater, and A.R.T. To earn the M.F.A. in dramaturgy, students must write an academic thesis on an aspect of dramatic literature, history, or practice. In some cases an original play or a new translation of a foreign play will be accepted as a thesis, but it must include a critical introduction.
Cambridge, Massachusetts
Cambridge is a city in Middlesex County, Massachusetts, United States, in the Greater Boston area. It was named in honor of the University of Cambridge in England, an important center of the Puritan theology embraced by the town's founders. Cambridge is home to two of the world's most prominent...
, Massachusetts
Massachusetts
The Commonwealth of Massachusetts is a state in the New England region of the northeastern United States of America. It is bordered by Rhode Island and Connecticut to the south, New York to the west, and Vermont and New Hampshire to the north; at its east lies the Atlantic Ocean. As of the 2010...
, United States
United States
The United States of America is a federal constitutional republic comprising fifty states and a federal district...
. The Institute is a training ground for the professional American theater. In 1998, the A.R.T. Institute for Advanced Theater Training began an exclusive collaboration with the Moscow Art Theater School
Moscow Art Theatre
The Moscow Art Theatre is a theatre company in Moscow that the seminal Russian theatre practitioner Constantin Stanislavski, together with the playwright and director Vladimir Nemirovich-Danchenko, founded in 1898. It was conceived as a venue for naturalistic theatre, in contrast to the melodramas...
(MXAT). The union of the two schools has created a historic program that provides unparalleled opportunities for training and growth. The Institute's program is one of the top ten graduate theater programs in the United States.
The wide range of courses given by the international faculty offers students unique preparation for the multi-faceted demands of the professional theater. The Institute program simultaneously respects the great traditions of the past and encourages the development of new ideas and forms of expression. In the past, Institute productions and workshops have developed into A.R.T. Mainstage shows. Upon graduation, students receive a Certificate of Achievement from Harvard University
Harvard University
Harvard University is a private Ivy League university located in Cambridge, Massachusetts, United States, established in 1636 by the Massachusetts legislature. Harvard is the oldest institution of higher learning in the United States and the first corporation chartered in the country...
and a Master of Fine Arts (M.F.A.) from the Moscow Art Theater School
Moscow Art Theatre
The Moscow Art Theatre is a theatre company in Moscow that the seminal Russian theatre practitioner Constantin Stanislavski, together with the playwright and director Vladimir Nemirovich-Danchenko, founded in 1898. It was conceived as a venue for naturalistic theatre, in contrast to the melodramas...
. The MXAT School is fully accredited by the Education Department of the Russian Ministry of Culture.
Each year, approximately twenty-three carefully selected students are admitted for a full-time, two-year, five-semester program of study in acting, dramaturgy, or voice pedagogy. The Institute accepts inquisitive student artists whose talent, enthusiasm, intelligence, and cultural curiosity can pioneer and lead the theater of the future. The two-year Institute cirriculum combines study in Cambridge
Cambridge, Massachusetts
Cambridge is a city in Middlesex County, Massachusetts, United States, in the Greater Boston area. It was named in honor of the University of Cambridge in England, an important center of the Puritan theology embraced by the town's founders. Cambridge is home to two of the world's most prominent...
, Massachusetts
Massachusetts
The Commonwealth of Massachusetts is a state in the New England region of the northeastern United States of America. It is bordered by Rhode Island and Connecticut to the south, New York to the west, and Vermont and New Hampshire to the north; at its east lies the Atlantic Ocean. As of the 2010...
with a three-month residency at the Moscow Art Theater School
Moscow Art Theatre
The Moscow Art Theatre is a theatre company in Moscow that the seminal Russian theatre practitioner Constantin Stanislavski, together with the playwright and director Vladimir Nemirovich-Danchenko, founded in 1898. It was conceived as a venue for naturalistic theatre, in contrast to the melodramas...
. Students begin their training in mid-July in Cambridge and spend the spring of their first year in Moscow, returning to Cambridge for the fall and spring of their second year. Both in Cambridge and overseas, students participate six days a week in formal classes, rehearsals, and special projects morning, afternoon, and evening.
In Cambridge, Institute students play an integral role in the A.R.T. community, working alongside the professional acting company and guest artists in both rehearsals and the classroom. Throughout the season, some students have the opportunity to appear in A.R.T. productions. In Moscow, students continue classes and workshops with members of the Russian and Cambridge faculties. Each year, one Institute production joins the spring repertory of the Moscow Art Studio Theater. As members of the MXAT community, students have the opportunity to attend performances at Moscow's two hundred theaters and studios. The also meet backstage and in class with directors, actors, playwrights, critics, and other prominnt members of the Russian theater community. In the past, Institute students have toured their productions throughout Europe, performing in Russia, Italy, Germany, and Switzerland. In addition to performances during the students' academic year, graduating second year students also put on a series of showcase performances in Cambridge
Cambridge, Massachusetts
Cambridge is a city in Middlesex County, Massachusetts, United States, in the Greater Boston area. It was named in honor of the University of Cambridge in England, an important center of the Puritan theology embraced by the town's founders. Cambridge is home to two of the world's most prominent...
, New York City, New York
New York City
New York is the most populous city in the United States and the center of the New York Metropolitan Area, one of the most populous metropolitan areas in the world. New York exerts a significant impact upon global commerce, finance, media, art, fashion, research, technology, education, and...
and Los Angeles
Los Angeles, California
Los Angeles , with a population at the 2010 United States Census of 3,792,621, is the most populous city in California, USA and the second most populous in the United States, after New York City. It has an area of , and is located in Southern California...
to aid their transition into professional work.
Up until 2003, the Institute also hosted a well-respected directing program, begun by Robert Brustein
Robert Brustein
Robert Sanford Brustein is an American theatrical critic, producer, playwright and educator. He founded both Yale Repertory Theatre in New Haven, Connecticut and the American Repertory Theatre in Cambridge, Massachusetts, where he remains a Creative Consultant, and has been the theatre critic for...
in the 1980s. Alumni of this program include Kate Whoriskey
Kate Whoriskey
Kate Whoriskey was the artistic director of the Intiman Theatre in Seattle, Washington, USA, for a year, departing in April, 2011 after the theater's board cancelled the remainder of the 2011 season due to financial problems. Whoriskey had been co-Artistic Director of Intiman along with Bartlett...
, Jeff Zinn, Bart DeLorenzo
Bart DeLorenzo
Bart DeLorenzo is a Los Angeles-based theater director and producer. He is the founding artistic director of the Evidence Room theater, a 14-year-old company renowned in Los Angeles for contemporary theater productions....
, and 2007 Ford Fellow
Ford Foundation
The Ford Foundation is a private foundation incorporated in Michigan and based in New York City created to fund programs that were chartered in 1936 by Edsel Ford and Henry Ford....
Tina Landau
Tina Landau
Tina Landau is an American playwright and theatre director.Born in New York City to film and television producers Edie and Ely Landau, Landau moved with her family to Beverly Hills, California, where she graduated from Beverly Hills High School before attending Yale University, where she directed...
.
Program in Acting
The acting program is an intensive combination of classroom exploration and practical production experience. Students follow a two-year acting sequence carefully designed by the Institute faculty. In July of the first year, students study the Stanislavsky System as a foundation for their acting training. This early training with teachers from the Moscow Art Theater School focuses on concentration, imagination, observation, relaxation, and action analysis of a text. Classes combine extensive exercises, structured improvisations (also known as études), and textual analysis to help students form a cohesive who out of their training. The Russian teachers also discuss the artistic and professional ethics of acting, sharing the philosophies of theater that have come to characterize the Russian tradition.In the fall of the first year, students focus on the work of Sanford Meisner
Sanford Meisner
Sanford Meisner , also known as Sandy, was an American actor and acting teacher who developed a form of Method acting that is now known as the Meisner technique....
and the acting theory developed by David Mamet
David Mamet
David Alan Mamet is an American playwright, essayist, screenwriter and film director.Best known as a playwright, Mamet won a Pulitzer Prize and received a Tony nomination for Glengarry Glen Ross . He also received a Tony nomination for Speed-the-Plow . As a screenwriter, he received Oscar...
and William H. Macy
William H. Macy
William Hall Macy, Jr. is an American actor and writer. He was nominated for an Academy Award for his role as Jerry Lundegaard in Fargo. He is also a teacher and director in theater, film and television. His film career has been built mostly on his appearances in small, independent films, though...
known as Practical Aesthetics
Practical Aesthetics
Practical Aesthetics is an acting technique originally conceived by David Mamet and William H. Macy, based on the teachings of Stanislavsky, Sanford Meisner, and the Stoic Philosopher Epictetus. An in-depth description of the technique may be found in A Practical Handbook for the Actor and also...
. This work is designed to help students replace intellectual ideas with impulsive, spontaneous choices as engendered by focus on and responsiveness to the actor's partner. Fall and winter classes involve extensive scene study, encouraging students to explore a wide range of alternative methods for identifying playable actions. Classes also explore the ways in which analytic approaches free students' creativity and imagination and expand their range of behavior. At this point, the students' work also begins to move beyond the boundaries of realism into other performance styles such as commedia. All acting classes and workshops are closely integrated with training in voice, speech, and movement. These combined skills provide each actor with a number of approaches to solving the many challenges of professional theater.
After the summer term of their first year, students begin spending more time in rehearsal and performance. The faculty carefully monitors this shift from classroom to stage through an Institute seminar in actor-director communication and collaboration that addresses the rehearsal issues of student workshops. During the three-month residency in Moscow, students will continue their training in acting, movement, and voice with Russian and American master teachers. In the second year, back in residence at the A.R.T., students focus on applying the technical training of the first year to a wide variety of styles and genres. Classes focus on Greek, Shakespearean, and Brechtian plays. During their two years at the Institute, students are directed by guest directors, faculty members, and internationally acclaimed guest artists. Students also have opportunities to perform and understudy in A.R.T. productions, although acceptance into the program is not a guarantee of working on the Mainstage. These opportunities usually arise during the second year of training. Students may also perform in staged readings or workshops of new scripts being developed by the A.R.T. Because both the A.R.T. and MXAT are international institutions, students gain a unique perspective on world theater and learn how to define their own places in the professional community.
The goals of the actors' voice training curriculum are to expand the individual actor's use of his or her instrument and to apply this optimized usage of the voice to acting technique for honest, spontaneous, dynamic and healthful expression of the inner life in action. The study of body awareness, breath and support, vocal placement and range, speech and dialects, Shakespeare text, and both choral and individual singing will help the student maximize his or her vocal capabilities on the physical, intuitive, and intellectual level. These separate yet intertwined aspects of vocal study will give the student the flexibility to approach texts both inside and outside the realm of colloquial speech, while remaining intimately connected to personal truth. Each student will receive a combination of classes, voice labs, and individual coaching sessions during the five semesters of training.
The goal of the actors' movement training sequence is to guide actors toward a spontaneous freedom of impulse, precision, and expressivity of motion. Through this program, the actor learns how to use the physical self and develops a large vocabulary based on an understanding of what is common to all bodies and what is unique to his or her own. Work in specific movement teaching guarantees the student the skills necessary to create roles and work in various styles. Students will create their own movement vocabulary and maintenance program to follow throughout their career. Study includes psychophysical exercises, Meyerhold's biomechanics, Vakhtangov's plasticity training, Grotovski training, individual and partner acrobatics, unarmed stage combat, fencing, classical and historical dance, slow motion, impulse work, Viewpoints, Dalcroze Eurythmics, style and genre explorations.
Program in Voice & Speech
The goal of this program is to provide the gifted student of vocal production both the pedagogical craft and practical experience to become a teacher and/or coach for the professional theater of professional actor training programs. It will give the student contact with a wide range of internationally renowned directors, theater styles, teachers of acting and movement as well as provide a solid basis of voice teaching technique. The program is designed to be flexible to the individual student's needs, building on their strengths and challenging areas of weakness.During the first semester of training, the voice students will track all incoming students of the program, taking acting, movement, history, and Russian language with the Moscow Art Theater faculty in residence in Cambridge. Voice and singing are also required, taught by American faculty. The first year, a voice student will take both first and second year vocal productions, speech, Shakespeare text, and dialects. He or she will attend selected first-year acting classes as an observer and voice coach. The student will continue to study singing, Russian language, and theater history. The first year voice student will be the primary coach on a variety of Institute productions of increasing complexity as well as assist on coaching one or two A.R.T. Mainstage productions. With the exceptionally experienced voice student, some teaching or individual coaching may be required during the first year.
The second year voice student continues to take both the first and second year voice curriculum. He or she will attend second year acting classes as observer and coach, as well as continuing with singing and theater history. The second year student will coach several Institute productions and assistant coach one or two A.R.T. Mainstage productions. He or shw will be the primary coach on at least one A.R.T. Mainstage production. The second year student will teach a course called Voice Lab for the first year students and continue with individual problem solving for both the first and second year actors. In March of the second year, the voice student will travel to Moscow with the first year students, where he or she will be the teacher of voice, speech, and Shakespeare text, as well as coach a show rehearsed and performed at the Moscow Art Theater School. Other teaching opportunities in Moscow may arise as well. Both first and second year voice students will take a weekly voice seminar to discuss theory and application of teaching and coaching technique as well as problem solve challenges as they arise.
One or two qualified students will be accepted into the program each year. Prospective candidates should have a working knowledge of various voice and speech pedagogies, some coaching experience, and a strong interest in theater as a collaborative art form.
Program in Dramaturgy
The dramaturgy program provides practical and academic training for literary directors, dramaturgs, playwrights, and theater critics. The program is both individualized and flexible. Classes are small, and students complement class work by participating fully in the professional life of two of the world's most prestigious theaters. Courses are taught by the dramaturgs of the A.R.T. and MXAT, whose professional experience provides an ideal bridge between the worlds of academic study and theatrical practice. Students work on a wide range of productions. They play an active role in the daily life of the theater, assisting directors, participating in season planning discussions, writing articles for the theater's journal, delivering pre-show talks, preparing program notes for A.R.T. productions, evaluating new scripts, and participating in the development of new plays. Working with some of the world's most exciting directors, students become familiar with a wide range of theatrical styles and are encouraged to translate, adapt, direct, and write dramatic texts.In Cambridge, students spend mornings in class and afternoons in rehearsal for Institute workshops and A.R.T. productions. In Moscow, students are taught by Russian dramaturgs and critics and assist in the development of Institute productions. Students also have an opportunity to attend numerous productions by Russian and foreign troupes. With hundreds of theaters and important arts festivals, Moscow offers students an unparalleled opportunity to round out their education by experiencing great theater every night. Our students apply immediately what they learn in classes in the context of two world-renowned professional theaters. Given the broad-based nature of their training, our students have gone on to careers in dramaturgy, playwriting, academia, film and theater script development, and theater criticism.
Dramaturgy students also have opportunities to serve as paid Teaching Assistants for Dramatic Arts courses at Harvard University. Dramaturgy students take the following required courses over their two years of study: Dramatic Structure, Theories of Representation, Aesthetics, Dramatic Literature, Theater History, Practical Dramaturgy, the History of Set Design, New Play Development, Season Planning, Russian Language and Culture, Translation and Adaptation, Writing for Publication, Public Speaking, 19th and 20th Century Russian and European Theater, the History of the Institutional American Theater, and the History of Dramatic Criticism. Dramaturgy students also have the opportunity to audit lecture courses at Harvard University. Students complement their academic study with intensive practical work, including dramaturgical support of productions at the Institute, American Studio of the Moscow Art Theater, and A.R.T. To earn the M.F.A. in dramaturgy, students must write an academic thesis on an aspect of dramatic literature, history, or practice. In some cases an original play or a new translation of a foreign play will be accepted as a thesis, but it must include a critical introduction.
2010-2011
- Alice vs. Wonderland, remixed by Brendan Shea, directed by János SzászJános SzászJános Szász is an Hungarian film director, screenwriter and theater director. He has directed eleven films since 1983. His film Witman fiúk was screened in the Un Certain Regard section at the 1997 Cannes Film Festival. Szász was the Director of the American Repertory Theater Institute and a...
- Drums in the Night, written by Bertolt BrechtBertolt BrechtBertolt Brecht was a German poet, playwright, and theatre director.An influential theatre practitioner of the 20th century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the...
, directed by Robert Scanlan - Neighborhood 3: Requisition of Doom, written by Jennifer Haley, directed by Marcus SternMarcus SternMarcus Stern is the Associate Director of the American Repertory Theater as well as the A.R.T./MXAT's Institute for Advanced Theatre Training. Stern lives in Cambridge, Massachusetts and has directed numerous productions for the A.R.T...
- The Trojan Women: A Love Story, written by Charles Mee, directed by Scott Zigler
- TBA
2009-2010
- The Winter's Tale, written by William ShakespeareWilliam ShakespeareWilliam Shakespeare was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon"...
, directed by David Gamons - Hamletmachine, written by Heiner MüllerHeiner MüllerHeiner Müller was a German dramatist, poet, writer, essayist and theatre director. Described as "the theatre's greatest living poet" since Samuel Beckett, Müller is arguably the most important German dramatist of the 20th century after Bertolt Brecht...
, directed by Marcus SternMarcus SternMarcus Stern is the Associate Director of the American Repertory Theater as well as the A.R.T./MXAT's Institute for Advanced Theatre Training. Stern lives in Cambridge, Massachusetts and has directed numerous productions for the A.R.T... - Stairs to the Roof, written by Tennessee WilliamsTennessee WilliamsThomas Lanier "Tennessee" Williams III was an American writer who worked principally as a playwright in the American theater. He also wrote short stories, novels, poetry, essays, screenplays and a volume of memoirs...
, directed by Mike DonahueMike DonahueMichael Joseph "Iron Mike" Donahue was an American football player, coach of football, basketball, baseball, tennis, track, soccer, and golf, and a college athletics administrator... - Skin of our Teeth, written by Thorton Wilder, directed by Scott Zigler
- History of the American Film, written by Christopher Durany, directed by Thomas Derrah
External links
- Institute for Advanced Theater Training at the American Repertory Theater
- The graduating classes of