Deborah Kampmeier

Undergraduate Discipline

Theatre

Graduate Program

MFA Theatre Program

A filmmaker, her first feature—Virgin, starring Elisabeth Moss and Robin Wright—was nominated for two 2004 Independent Spirit Awards. Her second feature—Hounddog, starring Dakota Fanning—was nominated for the Grand Jury Prize at the 2007 Sundance Film Festival. And her third feature—SPLiT—won Best of Show at the 2016 Female Eye Film Festival in Toronto and Best Ensemble Film at the 2017 Socially Relevant Film Festival in New York City. She is in development with several films, including Persephone, Tape, Crazy Head Space, and Untamed. Founder of Full Moon Films, a company dedicated to the development and production of films by and about women and has taught acting in New York City for 35 years at institutions such as The Michael Howard Studios, Stella Adler Studios, New York University, Playwrights Horizons, CAP 21, and The National Shakespeare Conservatory. Currently, she teaches an ongoing master scene study class for advanced actors. SLC, 2017-

Undergraduate Courses 2017-2018

Theatre

No Acting for Camera

Component—Year

The camera is totally uninterested in acting. The camera loves truth. This course is designed to break down “acting” and offer skills and experiential techniques that will allow students to trust their own humanity and bring their unique truth and experience to the work. The class is demanding and nurturing and asks that students be willing to bring their secrets and their vulnerability into the classroom. There will be step-by-step tools offered to guide students to the truth of the moment, the truth of their relationship to self, the truth of their relationship to a scene partner and the world around them, the truth of their relationship to the camera, and the truth of their relationship to the imaginary circumstances and demands of a scene. Students will also be given techniques to determine which part of the self is needed for a particular character and scene and skills to bring that part of the self to work. During the first semester, students will work on crafting a scene for the camera using neutral dialogue. This will mean creating the entire world from the trust and use of self. The second semester will ask students to take what they have learned about using themselves and craft their work to serve the demands of the film or television scene that they have been assigned.

Faculty

Graduate Courses

Theatre 2017-2018

No Acting for Camera

Component—Year

The camera is totally uninterested in acting. The camera loves truth. This course is designed to break down “acting” and offer skills and experiential techniques that will allow students to trust their own humanity and bring their unique truth and experience to the work. The class is demanding and nurturing and asks that students be willing to bring their secrets and their vulnerability into the classroom. There will be step-by-step tools offered to guide students to the truth of the moment, the truth of their relationship to self, the truth of their relationship to a scene partner and the world around them, the truth of their relationship to the camera, and the truth of their relationship to the imaginary circumstances and demands of a scene. Students will also be given techniques to determine which part of the self is needed for a particular character and scene and skills to bring that part of the self to work. During the first semester, students will work on crafting a scene for the camera using neutral dialogue. This will mean creating the entire world from the trust and use of self. The second semester will ask students to take what they have learned about using themselves and craft their work to serve the demands of the film or television scene that they have been assigned.

Faculty