Kevin Confoy

Kevin Confoy

Undergraduate Discipline

Theatre

Graduate Program

MFA Theatre Program

BA, Rutgers College. Certificate, London Academy of Music and Dramatic Art (LAMDA). Graduate, The Conservatory at the Classic Stage Company (CSC), Playwrights Horizons Theatre School Directing Program. Actor, director, and producer of Off Broadway and regional productions; resident director, Forestburgh Playhouse; producer/producing artistic director, Sarah Lawrence theatre program (1994-2008); executive producer, Ensemble Studio Theatre, New York (1992-94); associate artistic director, Elysium Theatre Company, New York (1990-92); manager, development/marketing departments of Circle Repertory Company, New York. Recipient of two grants from the Alfred P. Sloan Foundation; OBIE Award, Outstanding Achievement Off and Off-Off Broadway (producer, E.S.T. Marathon of One-Act Plays); nomination, Drama Desk Award, Outstanding Revival of a Play (acting company); director, first (original) productions of 13 published plays. SLC, 1994–

Current undergraduate courses

Breaking the Code

Year

A specific text-driven approach to acting, Breaking the Code provides a context for the most vital performances based upon a way of dissecting a play and determining a character’s behavior. Students will act scenes from contemporary plays and adaptations.

Faculty

Crisis Mode: Theatre From the Late 1960s Through Today

Year

Crisis Mode examines how theatre has responded to certain events of historical significance and moments of crisis. It is of particular value to those directors, actors, and theatre makers/producers interested in an expansive view of theatre and in how and why a play can change the way that we think. The course provides a working foundation for performance and production. Crisis Mode will examine plays and playwrights and theatre movements and styles that have developed and come to expression in the past several decades. Students will discuss a variety of plays, with an emphasis on looking at the world in which those plays were written and why they continue to resonate today. Students will study documentaries and make presentations on events of historical/political/cultural significance as a way of providing a play with a rich context for production and performance. Crisis Mode will concentrate on American plays and political movements but will encompass a global and cultural perspective, with discussion ranging from the influential works and innovations of Brecht and Beckett to political theatre groups such as El Teatro Campesino of the 1960s, to agitprop theatre events like those of the Vietnam War and civil rights eras, and to those of ACT UP in the 1980s AIDS crisis. Students in Crisis Mode will devise projects to serve their particular theatre interests. Projects range from staging and acting scenes to design work, dramaturgical presentations, and original plays written in the style/spirit of the events studied.

Faculty

Forensics: Actor and Director Lab

Year

See the full description in the Performance/Acting section, above.

Faculty

Forensics: Actors and Directors Lab

Year

Forensics is a production class for actors and directors. Students will read, analyze, direct, and act in a wide variety of one-act plays from a cross-section of periods and styles in a way of working that puts shared emphasis upon the text and its context. Forensics students form their own actor and director ensemble. Students present their work as part of the theatre program’s second-semester season. Classwork includes discussion of the playwrights and the time periods that gave their plays shape and resonance and a practical overview of the production process. It is understood that students in Forensics will have a range of acting and/or directing experience. Emphasis is placed upon determining what is common for both actors and director in staging a play. Over the course of the full year and in presentation, students will be expected to both act and direct.

Faculty

Current graduate courses

Breaking the Code

Year

A specific text-driven approach to acting, Breaking the Code provides a context for the most vital performances based upon a way of dissecting a play and determining a character’s behavior. Students will act scenes from contemporary plays and adaptations.

Faculty

Crisis Mode: Theatre From the Late 1960s Through Today

Year

Crisis Mode examines how theatre has responded to certain events of historical significance and moments of crisis. It is of particular value to those directors, actors, and theatre makers/producers interested in an expansive view of theatre and in how and why a play can change the way that we think. The course provides a working foundation for performance and production. Crisis Mode will examine plays and playwrights and theatre movements and styles that have developed and come to expression in the past several decades. Students will discuss a variety of plays, with an emphasis on looking at the world in which those plays were written and why they continue to resonate today. Students will study documentaries and make presentations on events of historical/political/cultural significance as a way of providing a play with a rich context for production and performance. Crisis Mode will concentrate on American plays and political movements but will encompass a global and cultural perspective, with discussion ranging from the influential works and innovations of Brecht and Beckett to political theatre groups such as El Teatro Campesino of the 1960s, to agitprop theatre events like those of the Vietnam War and civil rights eras, and to those of ACT UP in the 1980s AIDS crisis. Students in Crisis Mode will devise projects to serve their particular theatre interests. Projects range from staging and acting scenes to design work, dramaturgical presentations, and original plays written in the style/spirit of the events studied.

Faculty

Forensics: Actor and Director Lab

Year

See the full description in the Performance/Acting section, above.

Faculty

Forensics: Actors and Directors Lab

Year

Forensics is a production class for actors and directors. Students will read, analyze, direct, and act in a wide variety of one-act plays from a cross-section of periods and styles in a way of working that puts shared emphasis upon the text and its context. Forensics students form their own actor and director ensemble. Students present their work as part of the theatre program’s second-semester season. Classwork includes discussion of the playwrights and the time periods that gave their plays shape and resonance and a practical overview of the production process. It is understood that students in Forensics will have a range of acting and/or directing experience. Emphasis is placed upon determining what is common for both actors and director in staging a play. Over the course of the full year and in presentation, students will be expected to both act and direct.

Faculty

Previous courses

Actor and Director Lab

Year

This course creates a functional and working process for the presentation of plays. Student actors and directors work together on chosen scripts as a way of determining and shaping a common and shared approach to the text. PROOF provides a particular way of reading, analyzing, and breaking down scripts that makes a foundation for the most vivid, physical, and distinctly realized expressions of a play. Students will study and analyze a number and variety of plays from different periods and of different styles as a way of developing a practical way of working and a guide map into a text. Students will be expected to both act and direct in scenes and in short plays for in-class presentations.

Faculty

Actor and Director Lab - Graduate

Year

This course creates a functional and working process for the presentation of plays. Student actors and directors work together on chosen scripts as a way of determining and shaping a common and shared approach to the text. PROOF provides a particular way of reading, analyzing, and breaking down scripts that makes a foundation for the most vivid, physical, and distinctly realized expressions of a play. Students will study and analyze a number and variety of plays from different periods and of different styles as a way of developing a practical way of working and guide map into a text. Students will be expected to both act and direct in scenes and in short plays for in-class presentations.

Faculty

First-Year Studies: Power Plays: Theatre as Politics

FYS

This course examines how periods of social unrest and political upheaval can yield profoundly influential works of dramatic literature. Referencing specific historical events and political movements, including those of the late 20th century in America (the AIDS crisis of the 1980s; the antiwar, women’s, and civil rights movements of the 1960s), we will investigate how a play can come to be a record of its times and a lasting call to arms. Studying a large number and cross-section of plays that range from the classical to the modern and contemporary canons (from Lysistrata to Hair to Angels in America), we will determine how style, form, content, and the intent of the playwright shape audience response and why certain plays continue to inform the way we think and live. Students are expected to participate fully in class discussions and conferences and to create individual and group projects that are the expression of their own particular interests and areas of theatre study; i.e., acting, directing, design, playwriting. For the purposes of discussion, students will be asked to read aloud from selected assigned plays. Class work will include text and comparative analysis of selected plays and discussions of the political and historical contexts from which our plays emerged. In addition to plays, students will be assigned to read nonfiction support material. A series of documentary films and film adaptations of plays will be shown. In choosing this class, you are choosing to be a Theatre Third. This means that, in addition to this course, you will be automatically enrolled in Theatre Techniques: Technology and you will need to enroll in one other theatre component of your choice.  As a Theatre Third, you are also required to attend all theatre meetings and colloquiums as listed below, as well as complete 25 hours of technical work each semester.  

Faculty

FORENSICS Actor and Director Lab

Year

This class is an approach to performance and production that puts shared emphasis upon the text and the context in which a play was written. In the first semester, students will read, analyze, and study a wide variety of plays from a cross-section of periods and styles. Class work will include scene study, as well as discussion of the plays and playwrights and the time periods that gave them shape and resonance. To that end, students—as a group—will read and work on at least one given play per week. In the second semester, emphasis will be placed on performance, leading to the production of short plays to be presented as part of the theatre program’s spring season. Material presented in that production will be culled from the plays, playwrights, or genres studied in the first semester. Discussion in the second semester will include a far-reaching overview of the production process, from the selection of play and cast to the technical requirements of production and the vocabulary necessary to communicate with designers in production meetings. Over the course of the full year, students will be expected to both act and direct.

Faculty