INTRO - There is Game in Everything

Pre-requsite: Some previous performance experience is encouraged.

This class is good for all types of performers from Improvisers and Stand-Ups to Screen Actors to Dancers. This class can be taken multiple times and at any time. We are not seeking to graduate but to explore...


An introduction to the basic principles of The Idiot. The foundation of The Idiot begins with the establishment of a relationship with the audience. Without an audience The Idiot does not exist. Performers in The Idiot Workshop learn to be present and playful allowing them to improvise organically without having to follow improv rules or formulas. Range is developed through strong commitment to choice, character, self and partner. Performers are encouraged to play from their unique comedy core and to discover the potential for game in every moment. Performers are introduced to physical performance engaging the entire body.



INTERMIDIOT - Risk, Rhythm and The Little Shit

Pre-requsite: INTRO

Dig deeper into The Idiot.  This class can be taken multiple times and at any time. We are not seeking to graduate but to explore...


In Intermidiot the search for The Idiot is intensified. Performers discover the strength gained by magnifying flaws into hilarious and memorable character traits. Performers tap into their own sense of the ridiculous in order to riff more freely, taking bigger risks with the audience. Performers are introduced to the the idea of The Idiot as catalyst and Little Shit, gaining insights and acquiring the techniques on how to work a room through stakes, tension and release, energy placement, drive and game.



ADVANCED - Together in Perfect Juxtaposition

Pre-requsite: INTERMIDIOT

Working with multiple players and  creating more visual scenes. This class can be taken multiple times and at any time. We are not seeking to graduate but to explore...


In the ADVANCED class performers learn to play with stage partners. For The Idiot there is never a fourth wall, so care is taken in order to sustain the relationship with the audience. Rather than create relationships with face to face dialogues, The Idiot uses more subtle elements like physicality, sound and tone. Performers will discover ways to create more visual scenes including the use of tableau, stage pattern, space and architecture. Performers will discover ways to create tension and dynamics through the use of status in their relationships.

Performers will learn to generate comedy through contrast, layers, and juxtaposition in a stage picture with multiple concurrent perspectives. Performers will discover how rhythm plays a key role in the exchange between multiple players and how the throwing and taking of focus drives the scene forward. Performers will explore creative and playful ways to challenge each other including counter-intuitive ways to “yes and” one another. 



BITS & PIECES - Creating Material for the Stage


Focus will be on solo and duo performance pieces. The goal is to devise stand-alone pieces that can be put up in all kinds of shows. Students are encouraged to bring in ideas they would like to develop.


Culminating in a performance, this class will explore what it means to take each performer's unique Idiot out of the classroom and into the theater with a live audience. Performers will find and develop material that is unique to their comedic voice. Participants will develop a process for building a dynamic piece from a simple idea or impulse, and pieces will be developed and refined through technical focus on basic theatre skills, live direction and talkback.



Pre-requsite: NONE

We're wondering : what would happen if we wrote in the Idiot Workshop. What would we say? What are we thinking when we're not thinking? How can we write that? And how do we say what we've written?



ACTING AS DISASTER - with Meera Rohit Kumbhani and Tim Reid

Pre-requsite: NONE

We will bring in texts and plays by Chekhov, Pinter, Tennessee Williams, and others and interrogate the ways scripts are approached and brought into a rehearsal room. How can we take from those approaches, exaggerate and subvert them, slam them against a wall, and see what spills out? How can we find and exalt the role of the actor, especially the one who always exceeds the role they are given? This is still about serving plots, serving characters, serving the surmised designs of dead playwrights and absent-directors, serving the institution of theater as a cultural archive, but serving it so thoroughly and committedly that we are unrecognizable.



MOVEMENT INTENSIVE- with Pearl Marill and Eli Weinberg

Pre-requsite: NONE

Together we'll embark on a two-day exploration consisting of six core approaches to movement and creation: solo and duet play; text and movement; ensemble work; techniques for risk-taking; the gaze and performing presence; endurance and decision making. Each day we'll also take time for talking through process and writing/reflecting.

Slide and push it. Slap some sauce on your legs and ribs with this technique BBQ and dive into the absurdity of body and voice. It's a staycation: your body deserves a break from monotony and obvious choices.