Theatre Directing/Creation Class

Taught by Raymond Bobgan, Cleveland Public Theatre (CPT) Executive Artistic Director

Deadline for application is May 21, 2018

CLASS DESCRIPTION

Theatre Directing/Creation Class is for theatre directors, writers, actors, designers, and composers who wish to explore the rigors of directing and creating original performances. In this class everyone will direct, act, and create. Participants may also be paired to collaborate on some assignments. The class will not follow a conventional curriculum and will evolve throughout the process. The class will include the creation of 3-4 scene assignments in order for participants to explore class topics and develop new work.

Director/Creator Raymond Bobgan’s work centers on collaborating with performers to create performance. Deep work with actors on the creation of physical, mental, and emotional scores, montage of these scores with original text, layering of various elements, song creation, storytelling, and the moving of objects to transform space are all hallmarks of his unique approach to theatre. Raymond will also share techniques for engaging people in making and writing story.

Students may only miss one class and must make up work for that class. This is a working classroom environment and students will be expected to come to each class ready to dive in. Students must also be prepared to cast, create, and rehearse 3-4 scenes for in-class presentation. CPT space may be available to students for class work on a limited basis.

Students need to plan for 4-8 hours of rehearsal time for each scene. Scenes will be presented at the start of class on due dates.

The fee for the class is $750. CPT will accept up to ½ of this fee to be paid in “sweat-equity” volunteer work.

Dates of Class and Assignments

Class Application

Thank you for your interest in Raymond Bobgan’s Theatre Directing/Creation Class. Please complete the application and submit it with your supplemental materials via email to artistic@cptonline.org. Applications will only be accepted by email.

Deadline for application is May 21, 2018.

General Information
Name:
Address:
Cell phone (or best number):
E-Mail:

In the past, selection for this class has been quite competitive. We want this class to have a strong impact, so we are seeking people who have interesting weaknesses and who will benefit most from working with Raymond. We are also looking to “cast” a good mix of people with different levels of experience and backgrounds who will create a strong environment and may play well off each other.

Attach up to two sheets for the following questions:

1. How do you define yourself in theatre? (I.e. “director first, playwright second,” or “primarily an actor”)
2. Why do you want to take this course and what do you hope to learn?
3. What is your prior experience in creating new work?
4. If not answered in #2, what are the most important things you are working on as an artist? What’s really exciting you? What weaknesses are you addressing and what strengths are you building on?
5. Explain why you think you have the resources to create 4 scenes for this class? (I.e. Can you commit the time for conceiving, creating, and rehearsing these scenes? Do you have access to actors? Etc.)
6. If you would like to apply for a sweat-equity scholarship (up to $375 of the $750 class cost), please list skills you could offer or ideas for volunteering.

Supplementary Materials
Include a complete theatre resume.

Application materials will not be returned to applicants.

Thank you!

Click here for a PDF (printable) version of this web page.

RAYMOND BOBGAN (CLEVELAND PUBLIC THEATRE EXECUTIVE ARTISTIC DIRECTOR)

This is Raymond Bobgan’s 12th season in the leadership position at Cleveland Public Theatre (CPT). Raymond specializes in working through an ensemble process to create new performances that are bold, multilayered, and highly physical. Raymond’s work has been seen in Romania, Brazil, Denmark, Serbia, Turkey, the United Kingdom, and Canada and has been featured in American Theatre Magazine, Canadian Theatre Review, Theatre Journal, and in Lisa Wolford’s book Grotowski’s Objective Drama Research. Raymond has created many works for CPT including: Red Ash Mosaic; Feefer Rising, with Faye Hargate; Rusted Heart Broadcast; Insomnia: The Waking of Herselves, with Holly Holsinger and Chris Seibert; Cut to Pieces, with Chris Seibert; Blue Sky Transmission: A Tibetan Book of the Dead, co-produced by CPT and La MaMa ETC (NY); and The Confessions of Punch and Judy, co-produced by CPT, NaCl (NY) and Number 11 Theatre (Toronto), which was published in New Canadian Theatre Volume 9.

While serving as Executive Artistic Director at Cleveland Public Theatre, Raymond initiated the Student Theatre Enrichment Program (STEP), a job-training theatre program for low-income teens, Y-Haven Theatre Project which engages formerly homeless men in writing and performing theatre, Teatro Público de Cleveland, CPT’s resident Latino theatre company, and Station Hope, a community arts festival honoring Cleveland’s social justice heritage and exploring contemporary issues of social justice. Raymond is currently working with Arabic speaking communities to create theatre projects in Arabic and English. Raymond and Cleveland Core Ensemble’s production of Red Ash Mosaic is currently touring nationally to New Orleans, Detroit, and Columbus.

In 2017, Raymond received the Cisgender Ally Award at Cleveland’s Transgender Day of Remembrance, and in 2015, received Equality Ohio’s Ally Award. He received the 2017 Governor’s Award for the Arts in Ohio and in 2014 became the first recipient of the Cleveland Arts Prize in the discipline of Theatre. He currently serves on the National New Play Network Executive Committee, Theatre Communications Group Board of Directors, and is the Chair of the Board of the Gordon Square Arts District. Raymond is a two-time recipient of the Creative Workforce Fellowship (2010 for theatre, 2014 for music composition), a program of the Community Partnership for Arts and Culture. Under his leadership, CPT has eliminated significant debt, run consistent operating surpluses, and formed both a Building Reserve and an Innovation Reserve. This financial advancement was a result of mission-focused programming including a strong emphasis on supporting new works and local artists, a bold aesthetic vision, and CPT’s education and engagement programs.