Ernest H. Abuba

Recipient of an OBIE Award, five New York State Council on the Arts fellowships for playwriting and directing, a Rockefeller Foundation fellowship, Creative Artist Public Service Award (CAPS), Best Actor Focus Press Award, Society of Stage Directors and Choreographers (SSDC) member. Broadway: Pacific Overtures, Shimada, Loose Ends, The King and I, Zoya’s Apartment, director Boris Morozov, Maly Theatre. Regional/off-Broadway roles: King Lear, Macbeth, Oberon, King Arthur, Autolycus, Chebutykin, James Tyrone, Lysander, Mishima; Caucasian Chalk Circle, director Fritz Bennewitz, Berlin Ensemble. Author of Kwatz! The Tibetan Project, Leir Rex, The Dowager Empress of China, An American Story, Eat a Bowl of Tea, Night Stalker, and the opera Cambodia Agonistes, all produced off-Broadway; national tours to the Cairo Experimental Theatre and Johannesburg, South Africa. Performed Butoh with Shigeko Suga in Spleen, Accade Domani by Dario Fo, and Sotoba Komachi. Film/TV: 12 Monkeys (director Terry Gilliam), King of New York, Call Me, New York Undercover, Kung Fu. Director/ screenwriter: Mariana Bracetti, Arthur A. Schomburg, Asian American Railroad Strike, Iroquois Confederacy, Lilac Chen-Asian American Suffragette, and Osceola (PBS/CBS). Voice of His Holiness the Dalai Lama on the audiobook The Art of Happiness. SLC, 1995–

Undergraduate Courses 2017-2018

Theatre

Actor’s Workshop: Suit the Action to the Word, the Word to the Action—Hamlet, III. ii. 17-18

Open , Component—Year

This class meets twice a week.

Students will work on voice work, script analysis, sensory exercises, a Shakespeare sonnet, cold readings, improvisation, auditioning, and extensive scene work from the following playwrights: Sara Ruhl, Theresa Rebeck, Susan Yankowitz, Maria Irene Fornes, Suzan-Lori Parks, Jean-Paul Sartre, Eugene Ionesco, Jean Anouilh, Edward Albee, Tennessee Williams, Samuel Beckett, Oscar Wilde, Lynn Nottage, Katoria Hall, Arthur Miller, and Edward Baker. Required text: The Art of Acting, by Stella Adler.

Faculty

Creating a Role

Open , Component—Year

This class meets twice a week.

It is a sanctum of discovery, enabling the actor to explore non-Western movement: centering energy, concentration, the voice, and the“mythos” of a character to discover one’s own truth in relation to the text, both contemporary and the classics. Traditional as well as alternative approaches to acting techniques are applied. Fall semester concentrates on roles: Hamlet, Leontes, Caliban, Othello, Lear, Macbeth, Richard III, Hecuba, Medea, Antigone, Lady Anne,Tamara, Portia, and Lady Macbeth; spring semester, applied to scene study from works by Chekhov, Ibsen, Arrabal, Beckett, Ionesco, Sarah Kane, Amira Baraka, Edward Albee, and Jean Genet. Required reading: The Art of Acting, by Stella Adler.

Faculty

Global Theatre: The Syncretic Journey

Open , Seminar

This course is a theatre history component in the theatre program. This class meets once a week.

Good evening, ladies and gentlemen, and welcome to La MaMa, dedicated to the playwright and to all aspects of the theatre. —Ellen Stewart

La MaMa Experimental Theatre Club in New York City has been the host of contemporary and international theatre artists for 55 years. You will have the opportunity to attend performances, meet the artists, participate in workshops led by them, as well as have access to the La MaMa archives on the history of international theatre in New York. Your personal “syncretic theatre journey” is enhanced by the observance of fellow theatre makers and oneself that is informed concretely by the application of text, research, movement, music, design, puppetry, and multimedia, as well as social and political debate in class. Coordinators of the LaMaMa International Symposium for Directors, David Diamond and Mia Yoo, will host you in New York City, where you will exchange ideas with visiting and local artists from Yara Arts Group and the Great Jones Repertory Theatre. Historical/contemporary experimental texts will be discussed, such as: Psychosis by Sarah Kane, Death and the Kings Horseman by Wole Soyinka, Strange Interlude by Eugene O’Neill, The Caucasian Chalk Circle by Bertolt Brecht, A Dream Play by August Strindberg, Thunderstorm by Cao Yu, Goshram Kwotal by Vijay Tendulkar, Venus by Susan-Lori Parks, Ruined by Lynn Nottage, and Mistero Buffo by Dario Fo, as well as Fernando Arrabal, Antonin Artaud, and Martin Crimp. Required reading: TBA.

Faculty

Graduate Courses

Theatre 2017-2018

Actor’s Workshop: Suit the Action to the Word, the Word to the Action—Hamlet, III. ii. 17-18

Open , Component—Year

This class meets twice a week.

Students will work on voice work, script analysis, sensory exercises, a Shakespeare sonnet, cold readings, improvisation, auditioning, and extensive scene work from the following playwrights: Sara Ruhl, Theresa Rebeck, Susan Yankowitz, Maria Irene Fornes, Suzan-Lori Parks, Jean-Paul Sartre, Eugene Ionesco, Jean Anouilh, Edward Albee, Tennessee Williams, Samuel Beckett, Oscar Wilde, Lynn Nottage, Katoria Hall, Arthur Miller, and Edward Baker. Required text: The Art of Acting, by Stella Adler.

Faculty

Creating a Role

Open , Component—Year

This class meets twice a week.

It is a sanctum of discovery, enabling the actor to explore non-Western movement: centering energy, concentration, the voice, and the“mythos” of a character to discover one’s own truth in relation to the text, both contemporary and the classics. Traditional as well as alternative approaches to acting techniques are applied. Fall semester concentrates on roles: Hamlet, Leontes, Caliban, Othello, Lear, Macbeth, Richard III, Hecuba, Medea, Antigone, Lady Anne,Tamara, Portia, and Lady Macbeth; spring semester, applied to scene study from works by Chekhov, Ibsen, Arrabal, Beckett, Ionesco, Sarah Kane, Amira Baraka, Edward Albee, and Jean Genet. Required reading: The Art of Acting, by Stella Adler.

Faculty

Global Theatre: The Syncretic Journey

Open , Seminar

This course is a theatre history component in the theatre program. This class meets once a week.

Good evening, ladies and gentlemen, and welcome to La MaMa, dedicated to the playwright and to all aspects of the theatre. —Ellen Stewart

La MaMa Experimental Theatre Club in New York City has been the host of contemporary and international theatre artists for 55 years. You will have the opportunity to attend performances, meet the artists, participate in workshops led by them, as well as have access to the La MaMa archives on the history of international theatre in New York. Your personal “syncretic theatre journey” is enhanced by the observance of fellow theatre makers and oneself that is informed concretely by the application of text, research, movement, music, design, puppetry, and multimedia, as well as social and political debate in class. Coordinators of the LaMaMa International Symposium for Directors, David Diamond and Mia Yoo, will host you in New York City, where you will exchange ideas with visiting and local artists from Yara Arts Group and the Great Jones Repertory Theatre. Historical/contemporary experimental texts will be discussed, such as: Psychosis by Sarah Kane, Death and the Kings Horseman by Wole Soyinka, Strange Interlude by Eugene O’Neill, The Caucasian Chalk Circle by Bertolt Brecht, A Dream Play by August Strindberg, Thunderstorm by Cao Yu, Goshram Kwotal by Vijay Tendulkar, Venus by Susan-Lori Parks, Ruined by Lynn Nottage, and Mistero Buffo by Dario Fo, as well as Fernando Arrabal, Antonin Artaud, and Martin Crimp. Required reading: TBA.

Faculty

Previous Courses

Actor’s Workshop: Suit the Action to the Word, the Word to the Action—Hamlet-III. ii. 17-18

Open , Component—Year

This class meets twice a week.

Students will work on voice work, script analysis, sensory exercises, a Shakespeare sonnet, cold readings, improvisation, auditioning, and extensive scene work from the following playwrights: Sara Ruhl, Theresa Rebeck, Susan Yankowitz, Maria Irene Fornes, Martin Crimp, Jean-Paul Sartre, Eugene Ionesco, Jean Anouilh, Frank Wedekind, Tennessee Williams, Samuel Beckett, Sam Shepard, Oscar Wilde, David Auburn, Arthur Miller, and Edward Baker. Required text: The Art of Acting, by Stella Adler.

Faculty

Suit the Action to the Word, the Word to the Action —Hamlet-III. ii. 17-8

Open , Component—Year

This class meets twice a week.

Students will work on voice work, script analysis, sensory exercises, a Shakespeare sonnet, cold readings, improvisation, auditioning, and extensive scene work from the following playwrights: Sara Ruhl, Theresa Rebeck, Susan Yankowitz, Maria Irene Fornes, Martin Crimp, Jean-Paul Sartre, Eugene Ionesco, Jean Anouilh, Frank Wedekind, Tennessee Williams, Samuel Beckett, Sam Shepard, Oscar Wilde, David Auburn, Arthur Miller, and Edward Baker. Required text: The Art of Acting, by Stella Adler.

Faculty