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Early bird – $300
General – $350

Performing RISK

6-10PM, July 26-30

Sunday, July 26

6pm – Movement (Viewpoints and Grotowski)
7pm – Intro and Play Discussion – Woyzeck
8pm – Theory – Stanslavski
9pm – Scene Study – Woyzeck
10pm – End of Day

Monday, July 27,
6pm – Movement (Viewpoints and Grotowski)
7pm – Play Discussion – Pelleas & Melisande
8pm – Theory – Meyerhold
9pm – Scene Study – Woyzeck
10pm – End of Day

Tuesday, July 28
6pm – Movement (Viewpoints and Grotowski)
7pm – Play Discussion – A Dream Play
8pm – Theory – Meyerhold and Sources – Commedia Dell’Arte and Japanese Theater
9pm – Scene Study – Woyzeck
10pm – End of Day

Wednesday, July 29
6pm – Movement (Viewpoints and Grotowski)
7pm – Play Discussion –
8pm – Theory – Bertolt Brecht
9pm – Scene Study – Woyzeck
10pm – End of Day

Thursday, July 30
6pm – Movement
7pm – Play Discussion – Ubu Roi
8pm – Theory – Artaud and Grotowski
9pm – Scene Study – Woyzeck
10pm – End of Day

Rob Melrose (Play Discussion, Theory, Scene Study) is the Artistic Director and co-founder of the Cutting Ball Theater and works nationally as a freelance director. He has directed at The Guthrie Theater (Happy Days, Pen, Julius Caesar – with the Acting Company); The Oregon Shakespeare Festival (Troilus and Cressida – in association with the Public Theater), Magic Theatre (An Accident, World Premiere); PlayMakers Rep (Happy Days); California Shakespeare Theater (Villains, Fools, and Lovers); Black Box Theatre (The Creature, World Premiere, BATCC Award for direction), as well as Actors’ Collective; The Gamm Theatre; and Crowded Fire, among others. His directing credits at Cutting Ball include Strindberg Cycle: The Chamber Plays in Rep, Pelleas & Melisande, the Bay Area Premiere of Will Eno’s Lady Grey (in ever lower light); The Tempest; The Bald Soprano; Victims of Duty; Bone to Pick and Diadem (World Premiere); Endgame; Krapp’s Last Tape; The Taming of the Shrew; Macbeth; Hamletmachine; As You Like It; The Death of the Last Black Man in the Whole Entire World; Mayakovsky: A Tragedy; My Head Was a Sledgehammer; Roberto Zucco; The Vomit Talk of Ghosts (World Premiere); The Sandalwood Box; Pickling; Ajax for Instance; Helen of Troy (World Premiere); and Drowning Room (World Premiere). Translations include No Exit, Woyzeck, Ubu Roi, Pelléas and Mélisande, The Bald Soprano, The Chairs, Communiqué #10, and Ubu Roi. His translations ofWoyzeck, Ubu Roi, and Pelléas & Melisande have been published by EXIT Press. He is a recipient of the NEA / TCG Career Development Program award for directors. He has taught at Stanford University, UC Berkeley, USF, the University of Rhode Island and Marin Academy. He has a B.A. in English and Theater from Princeton University and an M.F.A. in directing from the Yale School of Drama.

Ponder Goddard (Movement, Shakespeare and the Body) Ponder Goddard has recently returned home to her beloved San Francisco after a decade of training and performing in New York, London and Moscow. She holds her BFA in Drama from New York University, where she trained in physical acting technique at the Experimental Theater Wing with master teachers such as Mary Overlie (Viewpoints), Stephen Wangh (An Acrobat of the Heart), Terry Knickerbocker (Meisner), and Kelly Maurer (Suzuki). She holds her MA in Classical European Acting from Drama Centre, London, which included two months of training at Shakespeare’s Globe Theatre and a summer residency focusing on physical theater techniques and Chekhov in performance at the Vakhtangov Theatre Institute in Moscow. Local theater credits include the Strindberg Cycle andTaming of the Shrew with Cutting Ball Theater, Sam I Am with Performers Under Stress, andNecrologue for Three with Faultline Theater. Other favorite roles include Titania/Hippolyta with Grassroots Shakespeare (London), The Poet in A Dream Play with 21Limbs (London), Natasha in Three Sisters at the Vakhtangov Institute and Imogen in Cymbeline at Shakespeare’s Globe Conservatory. She has been an Associate Artist with Cutting Ball since 2007.