VOCAL ENSEMBLE WEEKEND WORKSHOPS
We offer biannual workshops with members of the Vocal Ensemble, who are all master teachers and have been working with Meredith on average for thirty years. Reflecting diverse backgrounds and interdisciplinary approaches to performance, VE members past and present share Monk’s process for creating work. Beginning with breathing techniques and a detailed vocal and movement warm-up, participants work with the voice and body as multifaceted instruments for exploring range, timbre, gesture, resonance, character, landscape and rhythm. The work aims to uncover the fundamentals of performance as a vehicle for spiritual transformation. Selected pieces from Monk’s repertoire will also be taught.
*Please note, Meredith Monk does not teach during this program offered by The House Foundation. Teachers are also subject to change.
“Each day was miraculous…it opened me up to possibility.”
“The workshop exceeded my expectations. The teachers were all phenomenal.”
To stay informed of future offerings, please sign up for our mailing list here. The next Vocal Ensemble Workshop will take place in January 2020.
If you are interested in bringing a Vocal Ensemble Workshop to your school, home, or place of business please contact Sarah Lerner at firstname.lastname@example.org.
Vocal Ensemble Instructors Include:
Tom Bogdan teaches voice at Bennington College and has worked with Meredith Monk since 1991. Ms. Monk wrote New York Requiem especially for him. Tom has received critical acclaim for his performances in Concert, Opera, Recital, Cabaret and his own interdisciplinary pieces, L’Amour Bleu and Tell Me The Truth About Love, both produced by Danspace Project, NYC. Of his many recordings his favorites include Monk’s ATLAS, Tom Bogdan’s L’Amour Bleu, a gay celebration of love, and his For Your Delight with pianist Harry Huff. He has received Fulbright awards to teach Monk’s A Celebration Service to students in Manila, Philippines, a Hungarian Ensemble in Budapest and in São Paulo, Brazil, and most recently directed productions in Kiev, Ukraine and at the University of Montana. Bogdan’s CD Hungarian Folk Songs by Bartók and Kodály is available on Centaur Records.
Janis Brenner is an award-winning dancer/choreographer/singer/
Allison Easter has worked with Meredith Monk since the 1985 revival of Quarry. As a member of Meredith Monk & Vocal Ensemble, she has sung on recordings, toured the US, Europe, Asia, received a “Bessie” Award for her work in The Politics Of Quiet, and directed the chorus of Quarry in the 2003 Spoleto Festival. She was the first American woman to appear in the Off-Broadway percussion sensation STOMP. She played Vengeance in Will Pomerantz’s A Tale Of Two Cities, Jerri Lewis in Tony Zertuche’s Anchors, Ms. Porgy in the feature Vacuums, Anita Chambers on Law & Order, and danced with Susan Marshall and Company receiving a special mention in The Village Voice. She has produced and directed original works at Ensemble Studio Theatre, the NY Fringe Festival, and has taught dance and performance at Bennington College, Naropa Institute, Marymount Manhattan College, Pace University, Sarah Lawrence, Horace Mann High School and NYU-Tisch. Allison has also taught through the Meredith Monk & Vocal Ensemble education program at Bard HSEC, LOMA (Lower Manhattan Arts Academy), and has staged the Folk Dance from Monk’s A Celebration Service in Syracuse NY, Budapest, Kiev and the Philippines, among others.
Katie Geissinger has been performing with Meredith Monk since 1990, at festivals and venues worldwide, in concert, and in pieces such as ATLAS, The Politics of Quiet (for which she is a Bessie recipient), mercy, the Grammy-nominated impermanence, Songs of Ascension, On Behalf of Nature and the currently touring Cellular Songs. She premiered Bang on a Can’s OBIE award-winning The Carbon Copy Building and performed in the second world tour of Philip Glass and Robert Wilson’s Einstein on the Beach, which was revived in concert at Carnegie Hall. Other Carnegie Hall appearances include Bach’s Magnificat with the Orpheus Chamber Orchestra, the Witch in Honegger’s Le Roi David, and Osvaldo Golijov’s Ainadamar. Katie has also appeared in Jonathan Miller’s staged productions of Bach’s St. Matthew Passion at BAM, and in John Tavener’s The Veil of the Temple at Lincoln Center, where she also recently performed in a run of Stravinsky’s Les Noces with New York City Ballet. Her Broadway credits include Baz Luhrmann’s production of La Boheme and Coram Boy, and Off-Broadway she has appeared in many Gilbert and Sullivan operettas. Katie has premiered many new music theater pieces, including Mark Mulcahy and Ben Katchor’s The Rosenbach Company, Philip Miller’s Venus at MASSMoCA, and Julia Wolfe’s Steel Hammer with The Bang on a Can All-Stars and Anne Bogart’s SITI Company. Her teaching experience ranges from choral work in Estonia and San Francisco to workshops at Naropa, Bang on a Can’s new music institute at MASSMoCA, Oberlin, ETW at NYU, Berklee, the Weill Music Institute at Carnegie Hall, and LaGuardia High School for the Performing Arts.
In a career spanning over 40 years, Paul Langland has built an international reputation as a pioneering dance teacher and innovator, choreographer and performer. His career highlights include: creating Allan Wayne Work, the teaching and choreographic system based on the work of American dancer Allan Wayne; being an original member of Meredith Monk & Vocal Ensemble; being central to establishing Contact Improvisation in New York through performances, teaching, and event organizing; being a collaborator and performer with Mary Overlie when she developed the Six Viewpoints; and presenting his choreography and teaching world-wide. With Meredith Monk he was in such original productions as Quarry, The Travelogue Series, Recent Ruins, Specimen Days, Ellis Island (film), Dolmen Music, Turtle Dreams, and others. He has also worked with several other legendary directors and choreographers including Steve Paxton, Ping Chong, Simone Forti, and David Gordon. His groundbreaking performances and creative works have contributed substantially to the vibrancy of New York’s dance scene. Mr. Langland is a recognized authority on contemporary dance, frequently referenced in leading books and articles, and broadcast dance interviews. He has also authored several articles in dance publications. He is an Associate Arts Professor at New York University’s Tisch School of the Arts Department of Drama, Undergraduate, Experimental Theatre Wing.