Directing I: Beginning As a group, students will analyze one or two plays to discover the process involved in preparing a script for production. Attention will be given to production and design concepts, textual values, auditions, rehearsals, and the structuring of a performance in time and space. Students will also cast and direct one or more scenes to be worked on and performed in class. The practical work is combined with written analysis.

Spring Production Studio: Acting The cast works as part of a company, interpreting, rehearsing, and performing a play. Those receiving credit can expect to rehearse four to six nights a week. Appropriate written work is required. Participation in the course is determined by auditions held during the term prior to the performance.

Twentieth/Twenty-first Century Performance Aesthetics This course is an intensive exploration of the evolution of the theory and practice of theatrical experimentation in the 20th and 21st centuries. The Modernist movement irrevocably altered the artist’s relationship to the social, and political order. The ramifications of this change will be addressed throughout the course, with particular emphasis on Brecht, Artaud, and Grotowski. Students will write papers and give presentations on the work of such contemporary artists as Peter Brook, DV8, Robert Wilson, Ariane Mnouchkine, Complicite and Jerzy Grotowski.

Sexuality and Power on Stage: Female Trouble, Closet Homos, and Shameless Queers What do Sophie Treadwell's Machinal, Martin Sherman's Bent, and Tony Kushner’s Angels in America teach us about the history of sexual marginalization? In this seminar we will study a selection of US American plays in which gender, desire, and sexuality constitute a problem for society and the state. Students will learn how to analyze dramatic texts from the director’s and the actor’s perspectives with a focus on action, structure, characterization, and space in addition to genre and larger themes. Cinematic renderings of the plays and in-class staging exercises will help us engage the embodied dimension of performance

Acting I: Beginning Acting Rigorous physical and psychophysical exercises attempt to break through the cultural and psychological barriers that inhibit an open responsiveness to impulses, to the environment, and to others. Attempt is made to free personal response within improvised scenes and, eventually, within the narrative structure of a naturalistic scene. Attention is given to various theories of acting technique. Students are expected to audition for departmental shows.

Out on Stage: US Queer Drama In this course we will study US American plays that center queer and trans identities and experiences. Our journey will begin in 1930s and will end in the present day. We will trace the history of queer sexualities and marginalized gender identities from the dramatization of closetedness to the Gay Liberation Movement, the AIDS epidemic, and the affirmation of queer and transgender identities. Students will learn how to analyze the dramatic text from the perspectives of the actor, director, designer, and dramaturg. In addition to reading the plays, we will watch cinematic adaptations of selected texts. Secondary readings and research will illuminate the ways in which the works respond to specific historical contexts.

Theatre History Using the dramatic text as the primary focus, this course will chart the progression of theatre from its ritualistic origins to the advent of modern drama. This survey will include an overview of theatrical architecture, the evolution of design and acting styles, and the introduction of the director. Since theatre does not exist in a void, a consideration of the social, cultural, political, and scientific milieu of each era studied will be included in the course. 2 1/

Fall Production Studio: Acting The cast works as part of a company interpreting, rehearsing, and performing a play. Those receiving credit can expect to rehearse four to six nights a week. Appropriate written work is required. Participation in the course is determined by auditions held the previous term.

Claudio Medeiros

Reviews and ratings for Claudio Medeiros at Middlebury College.Claudio Medeiros teaches Directing I: Beginning, Spring Production Studio: Act, 20th/21st Century Perf. Aesth and more.  Explore top rated instructors and find the best for you.Is Claudio Medeiros good ? Find out on MiddCourses.

Alright, let me start of by saying the only reason I got through this class was by the fear of my money being wasted. Not only were their things not exactly related to the course description, but sometimes we were also kept over time and sometimes only told we were going over DURING THAT CLASS. unless you absolutely need to take the course with Claudio, don't.

Claudio is very loving to students and enthusiastic about directing. He could appear scary at times when you don't know him that well yet, but if you have questions or if you are passionate about directing, he'll definitely set time aside to meet with you. It definitely requires a lot of extra time outside of class to rehearse, and if you don't have any friends who do theater, it could be difficult, as you would need to cast people for your scenes. Other than that, I find this course highly valuable. 

It was a good and easy class. Not too much to do, the assignments are slight really. Just make sure to memorize lines and you will be fine. Very easy to do and doesn't take up that much time to complete work and be prepared.