Hagen Summer Intensive 2008

June 29 through August 8, 2008

Applications now online!

A rigorous, 6-week workshop that probes the practical applications of Uta Hagen’s technique as discussed in her book A Challenge for the Actor. Through scene study, script analysis and technical exercises, “The Six Steps” will become an integral part of the actor’s craft. When you have strong technique and more confidence in how to find yourself in the role, acting will be joyful.

What You Can Expect

A fully integrated, rigorous program of courses: Alexander Technique, Movement, Speaking Voice, Acting Technique, Scene Study and Script Analysis
A faculty of master practitioners
Special workshops with guest artists
A direct, in-depth approach to your work
A safe, supportive, challenging environment
To strengthen your craft and stretch all aspects of your instrument
To complete the Intensive a stronger, more knowledgeable, more confident actor

Here's what some of our former students are saying:

"This is one of the most balanced, well rounded programs I have been a part of."

"Boot camp for the dedicated actor. I think it was one of the most rewarding experiences of my life."

Classes meet Mon – Fri
9:30 AM to 6:00 PM
June 30 through August 8

Tuition: $2,800

Limited scholarship funds available for students who qualify based on talent and need.

Application deadline: APRIL 10, 2007

Application fee (non-refundable): $25.00

Auditions: April 26 and 27, 2007
(additional dates may be scheduled as necessary)

To request an application or brochure,
call 212-675-2370 or email jboerlin@hbstudio.org, or download a pdf version at the links below.

Hagen Intensive 2008 Brochure

Hagen Intensive 2008 Application

Uta Hagen

“...An organic transference of oneself to the role, the development of a new “I” who is alive in the world of the play, involves a creative process which is not a willy-nilly, loose way of working that depends solely on intuitive or illusive inspiration. On the contrary, it is a process which, however slow and painstaking, can be structured in an orderly way over which the actor has control, although no part of it is mechanical... It is a true challenge of one’s diligence and one’s talent. This process is to me like the drafting of a musical score in which the actor composes the character’s theme, orchestrates it, defines the phrases, individual beats, and the arrangement of the notes he will eventually play with spontaneity at each performance, putting to use his finely honed inner and outer techniques.”