B.F.A. in Acting

Note: Admission to this program is currently suspended.

The BFA in Acting is a rigorous, focused and sequential actor-training degree. This degree prepares its graduates to enter the acting profession and work across all media: stage, film, television and web-based work. The degree nurtures and develops both skilled, transformative actors and self-generating, collaborative theatre artists. The degree aims to train young artists whose work is truthful, physically and imaginatively engaged, vocally dynamic and versatile, and who can work successfully in a highly competitive global marketplace. 

Initially, the BFA sequence focuses work on "Self" via the introduction of the fundamentals of acting, and the development of the actor's body, voice, imagination, and creative individuality. Work also addresses creative blocks and unproductive habits. 

The sequence then goes on to deliver rigorous exploration work on the "Role" through a wide variety of dramatic texts and genres that the student will encounter in a career as a professional actor. It continues to develop the core principles introduced in the first year and adds more advanced techniques and methodologies. 

Finally, the BFA degree will prepare students for a demanding transition into the professional arena. This preparation includes Shakespeare and other classical texts, self-generated material and solo performance, on-camera acting techniques, and techniques for digital or new media and an expanded mastery of the fundamentals introduced in the first year. 

For more information, please see the .

The Acting Faculty believes that every artist, no matter their medium of expression, reveals some aspect of their individuality 鈥 even unintentionally - through the conscious manipulation of form. Creating a work of art is therefore an act of autobiographical will, revelation, imagination and vulnerability.

Therefore, it follows that art is, at its most base, the willful expression of the individual via a chosen form. Consequently, we, as teachers of artists, can fruitfully work on one of two areas:

  • The artist鈥檚 鈥淚nstrument鈥 and experience of the world 鈥 what they want to say about it. = Self.
  • The 鈥淗ow鈥 - the form, the means, the craft - they will go about doing that = Skill.

Our philosophy of actor training embraces and parallels our global view of art. We specifically, thoughtfully and systematically work on two primary aspects of the actor:

  • Work on 鈥淪elf鈥- Freeing the actor鈥檚 instrument. Creating an open free channel through which to express, then building technique upon it. Developing, enhancing and encouraging the individual鈥檚 imagination.
  • Work on the 鈥淩ole鈥 鈥 the acquiring a specific 鈥淪kill鈥 or craft, be it Psychological Verisimilitude, Anton Chekhov, film, episodic television, Shakespeare, etc. Art is not sloppy; it is precise, demands skill, ability and expert demonstration of craft to succeed.

We work under the assumption that all acting, no matter the form, medium, style or genre is some sort of imaginative communication. Once a common acceptance of this principal is reached we present the syllogism that there are three areas of human communication that the actor can train:

  • What we say = text = the head.
  • What we feel = emotions = the heart.
  • What we do = behavior = the will.

These are the three areas that we focus on, both in the classroom and rehearsal. Within each of these three areas there are two aspects that all exercises and or techniques are aimed at dealing with:

  • The actor鈥檚 Impulse
  • The actor鈥檚 Expression

From here we work moment to moment with each individual actor to discover what stirs his or her creative subconscious. Once we have divined this element, we begin to find ways 鈥 through established and proven methodologies - to open them up and push them out of 鈥渃omfort zones鈥. Once this has been done, usually over the course of their first semester of study, we then begin to layer on more genre-specific techniques.

  • Work on the 鈥淩ole鈥 鈥 the acquiring a specific 鈥淪kill鈥 or craft, be it Psychological Verisimilitude, Anton Chekhov, film, episodic television, Shakespeare, etc. Art is not sloppy; it is precise, demands skill, ability and expert demonstration of craft to succeed.

We work under the assumption that all acting, no matter the form, medium, style or genre is some sort of imaginative communication. Once a common acceptance of this 

  • What we say = text = the head.
  • What we feel = emotions = the heart.
  • What we do = behavior = the will.

These are the three areas that we focus on, both in the classroom and rehearsal. Within each of these three areas there are two aspects that all exercises and or techniques are aimed at dealing with:

  • The actor's Impulse鈥
  • The actor's Expression

From here we work moment to moment with each individual actor to discover what stirs his or her creative subconscious. Once we have divined this element, we begin to find ways 鈥 through established and proven methodologies - to open them up and push them out of 鈥渃omfort zones鈥. Once this has been done, usually over the course of their first semester of study, we then begin to layer on more genre-specific techniques.

  • Applicants will be admitted into the BFA track via an adjudicated audition with the Theatre Arts Department performance faculty, after completing the following course work with a grade of 鈥淏鈥 or better: THEA 112, 114A, 116, 214, 262 and either 215 or 316 or equivalent.
  • Students only have two chances to apply for a BFA program, and once admitted must remain in good standing to graduate with the degree.