Elizabeth Stepkowski Tarhan

To request materials please email Elizabeth at e.stepkowski.tarhan@gmail.com

CLOTHO: CAMILLE CLAUDEL

Camille Claudel left an immeasurable legacy and forged a path forward for female artist but was unable to witness her accomplishment during her lifetime. Her life was truly and terribly tragic. An inspired and rigorous artist, thwarted at every turn by her family, her mentor and lover, and by society. Was she mad, or was she driven mad? A beautiful, courageous and impeccable sculptor who desired to live life in a way too challenging for others to accept. Regarded as shameful by family and peers. Perhaps her artistry outshone her male counterparts and threatened the status quo?  It could not be deemed possible at the turn of the 20th century that a woman could be as capable as a man.  At age 39 her family incarcerated her in an asylum until her death 30 years later. Camille was deprived of love, companionship and company. She was deprived of her true passion and devotion; art.

Composer Ilkim tongur is in the process of completing the movements and orchestrations. A recording of 12 movements from a workshop along with piano/vocal sheet music is available for producing companies.

BERNARDA AND HER DAUGHTERS – Translated by John Murrell

Lorca’s poetic and deeply dramatic writing, drenched in Flamenco inspired music, song  and movement. Compás, the heartbeat of Flamenco, constant throughout in the guitar, the scrape of a chair or flick of a fan. Movement flows through the story in the twisting of a hand, an explosion of footwork, or mournful embrace. This adaptation weaves text, music, song and dance into a unique investigation of this extraordinary playwright’s work and the spirit and intensity of Flamenco.

 ‘Bernarda and her Daughters’ offers an opportunity to dig through shame, fear and courage with four generations of female theatre artists. To excavate themes on family, feminism, religion, culture, violence, sexuality and love. All things that we continue to navigate as we explore our culture and society, build our resilience, and encourage wellbeing and empathy in our children and youth. We must truly understand where we have come from, and where we are, to move forward wisely with open eyes, minds and hearts.

A sizzle reel of workshop outcomes is available to producing companies. It may be followed by a recording of a workshop stumble through of the entire play as proof of concept. I am currently seeking funding to finalize musical arrangements and have them transcribed.

WEST RUTABAGA COUNTRY

Opera/Circus in three possibilities. Chamber opera for piano with five principle roles, and two children. Chamber opera with circus elements. Opera with orchestra, 7- 10 principles, chorus, circus performers, presented in a theatre or concert hall that will accommodate all our imaginings.

The libretto is available to read for producing companies. I am currently seeking funds to commission composer Mark Morash.

Troilus and Cressida

PDF available to read for producing companies.

Romeo and Juliet/Prokofiev  A marriage of Prokofiev’s beautiful ballet and Shakespeare’s beloved text. A feast for the ears with minimal staging.

A sample of the treatment of the script is readily available. A sample recording would follow to interested producers.

VOCAL DEVELOPMENT

I have developed vocal methodology that result in a practical practice to improve vocal production. This method is derived from my 40 year practice and study of the human voice as both an actor and a singer.

During the course participants will learn a series of exercises that will supply them with tools to improve all aspects of vocal production: breath, vocal placement, resonance, agility and colour. These techniques aid in strengthening the voice and increasing dynamic range.

OBJECTIVES

• Identify proper alignment and release muscular tension.
• Increase capacity for breath control and connect the breath to sound and volume.
• Increase resonance and range.
• Increase the ability to colour the voice for different styles of song or characters.
• Develop focused placement of tone.
• Increase the ability to move through the passaggio, or vocal breaks.
• Increase agility and enhance portamento, staccato, legato, diminuendo.
• Develop ear training, harmony and improvisational skills.

This series may be completed in three days, or with more detail and individual attention over the course of a week. Up to 12 participants. The series may be enhanced by adding one on one coaching of prepared pieces. An additional 30 minutes would be added for each participant. For groups larger than 12, the series may still be demonstrated and shared, but with far less individual guidance during the practice.

CHARACTER DEVELOPMENT AND TEXT ANALYSIS

During this course participants will learn useful techniques to analyze and interpret dramatic and tools and methods for character development. We will explore 5 act structure, Rudolph Laban, Patsy Rodenburg, Utah Hagen, demographic mapping, objective and super objective, character psyche, creating a back story, verbing and tactics, event mapping, obstacles, conflicts, unit breakdown and more.

OBJECTIVES

• Understand the structure and characters of the text.
• Utilize methods to explore sound and physical characterization.
• Map events and emotional transformations.
• Create backstory and the environment of the play.
• Utilize acting techniques to bring the text to life.

This series may be completed in a 3 hour lecture, with student participation over three days, or with more detail and individual attention over the course of a week. Up to 12 participants. The course may be enhanced by adding one on one coaching of prepared monologies, songs or scenes. An additional 30 minutes would be added for each participant.

Please feel free to contact me with any questions about these courses or to enquire about scheduling and fees.

e.stepkowski.tarhan@gmail.com

”She has always distinguished herself as a consummate artist of skill and range, excelling at everything from traditional repertoire to devising new work and forms.” Peter Hinton-Davis OC, stage director and mentor.

“Stunning vision in creation process! Watch out world!” Daniel Kramer, stage director and educator.

“In whatever facet of theatre production she has been involved, Elizabeth has consistently interested herself in all the integrated components of a play, not only in her role and her performance, but in complementing the work of her fellow actors, and in fully comprehending the director’s and designer’s vision of the play.” John Murrell, OC, AOE, playwright.

”That once in a lifetime combination of extreme talent, know how, passion, compassion, and kindness. ” Tara Blue, Creative Partner at Bluebird Moving Arts 

“A fantastic theatre experience for everyone involved. Her years of experience working with director after director shone brightly as she worked with her team of emerging artists. She constantly applied her gained knowledge from other directors, making them her own and always crediting the mentors and teachers she learned the skill from.” JP Thibodeau, Storybook Theatre.

”Wow you think on your feet. What insightful helpful things you told the students today. So awesome. We saw results instantly. You are one of the best teachers I’ve ever watched in action!” Karen Thorsteinson, performer and educator.

“Calgary’s first lady of the stage, the incomparable Elizabeth Stepkowski Tarhan. ” Vancity Vince, theatre critic and blogger.

“Stepkowski Tarhan gets to rip at our hearts when Margaret tells us just how lonely she is.” Louis B. Hobson, Calgary Herald.

“Acting is a breeze for Stepkowski Tarhan as she throws her personal spontaneity and 30 years of experience into the craziest of characters.” Jasmine Han, theatre critic

“The most grotesque comic character is Violet’s ample, blowsy, hilariously vulgar sister Matti Fae” Liz Nicholls, Edmonton Journal