Successful Creativity

Movement and Acting Techniques

My master classes are designed to develop techniques in people who intend to make their living from a career in the Performing Arts. I believe in aiding a performer not just to be accidentally or sporadically creative, but to be Successfully Creative: structuring independence by developing skills that allow artists no longer to need constant supervision and direction. My particular focus is to explore performance techniques from a unified physical, dramatic, and vocal standpoint. This is a true marriage of Voice, Acting, and Movement Techniques, creating speech or singing as a consequence of movement, movement that is nourished by vocal techniques, and creating the “Behavioral Life” of a character in action.

Opera:

Everyone I’ve talked to or exchanged messages with so far has mentioned the magical power of your coaching…Training nowadays usually begins with Chuck Hudson’s acting classes, in which the voice becomes one with the face and the limbs. “It was ‘Acting for Dummies,’ says David Lomelí, ’08. ‘He changed everything.’ David Littlejohn, Wall Street Journal

In a short amount of time, Hudson so successfully focused each singer’s energy that every single one sang better and more convincingly the second time around… For several other singers, high notes blossomed, and formerly generalized performances became charged with electricity. Jason Victor Serinus, BAY AREA REPORTER

Acting is a whole area that’s been underemphasized in voice training…Their stage Guru? Chuck Hudson [whose] classes have also given [the singers] a safe place in which to make mistakes, learn through them, and to be comfortable… on stage. Holly Johnson, Seattle Opera’s Young Artist Program in Sforzando Magazine

Theatre:

…The American theatre abounds in skillful movement teachers, fight choreographers, specialists in mime and modern dance and classical commedia, as it does in stage directors full of novel interpretive ideas. But not one in a hundred possesses, as does Hudson, the ability to infuse movement with intelligence, to make ideas flesh. Roger Downey, Seattle Weekly

Curriculum

What does the performer do with the body on stage when s/he is not dancing, fighting, or doing acrobatics? “What do I do with my hands?” and “How should I stand?” are signals that the performer is not comfortable with his/her body; How and why a person moves the way they do is linked with finding ways to create action and overcome obstacles on stage. Drawing on traditional and contemporary European schools of thought, these master classes will dynamics, rhythm, and the use of three-dimensional movements, aiding in the union of the words, music, and the performer’s entire self.

The world of Opera in changing: Producers and Directors constantly insist on singers having the same level of control over their acting abilities as a speaking actor does, or as the musician has over their musical instrument—yet rarely does anyone provide singers with the tools they need to meet these demands and to be successful in this field.

Each master class will be divided as follows: Psychophysical warm-up, study of a particular technique, utilization of this technique in an improvisation or scene work, group discussion and the critical process. A variety of my own technique documents will be designed and generated to meet specific needs.

See a list of available master classes.