How NOT to Sound Like a Writer: Coaching and Tips for Reading Aloud with Anne Buelteman, Saturday, September 29
Instructor: Anne Buelteman
Number of sessions: 1
Meeting time: 10 am to 1 pm
Dates: Saturday, September 29
Course fee: $60, $35 deposit required to register
To register, contact the instructor. All deposits are nonrefundable.
Description: It’s on your calendar – that event you agreed to attend and read from your latest work.
Should be no problem, right? You read it to your wife/boyfriend/landlady/gardener/dog, didn’t you? How hard could it be to read to a crowd of eager fans and new friends?
Reading your work aloud isn’t just a vanity exercise. Being a compelling reader is a valuable skill every writer needs for building confidence and connection with your audience.
So, just in case you’re not feeling convinced that the local literary aficionados will be as fascinated as your cat was, this is the class for you – a special 3-hour session with a professional stage actor, limited to 6 participants.
This is not an acting lesson. Most of us are not comfortable if we feel we are “acting”. You became a writer because you have something to say – usually some story or topic to which you have some personal connection. This connection is what engages an audience, whether reading or listening to you read. In addition to general tips on vocal production, technique, and energy, you will be given coaching on whatever copy you bring to class, to locate those personal connections, whether humorous, tragic, intellectual, sensual, whatever. The truth of that connection is more compelling than any “acting” you might do. You may even surprise yourself, finding threads in your own work of which you may not have been fully conscious.
Space is limited. Sign up now and gain a valuable tool that will help you promote yourself and your point of view or story, as well as giving you a more relaxed event, this time, and the next.
Instructor Bio: Anne Buelteman is a professional actor and sometime writer who currently lives on the peninsula. Her acting career, not always distinguished, has at least the virtue of spanning decades. She was first seen at TheatreWorks in 1975 in StoryTheatre, in which she made a lasting impression as Henny Penny, Simpleton’s Mother, a cow, and possibly also a fence – memory has mercifully obscured the details. Clearer in memory are The Servant of Two Masters, in which she played the clueless yet musically gifted Madame Pantalone, and Working, in which she appeared as jubilant waitress Delores Dante.
After these and other imaginative forays at A. C. T., San Jose Civic Light Opera and three seasons with the San Francisco Opera Chorus, in the mid-‘80s she wrote, produced and starred in a one-woman show entitled Opera Without Fear at the Marines Memorial Theater in San Francisco.
This was followed by fourteen months in the San Francisco company of Les Miserables, and then a number of years – eleven – on the Broadway national tour of the same show. During the latter part of that period she began writing a journal which she thinks of as “a 700-page rant”. Her letters home were reportedly treasured by friends and family.
Most recently she worked at the Denver Center in Quilters and A Christmas Carol, and locally she appeared as the inspired eccentric Dorothea Wesbrook in the California Conservatory Theatre’s production of Eleemosynary. Other recent work includes the American Musical Theatre of San Jose’s production of Guys and Dolls, Contra Costa Music Theatre’s Urinetown, and last but not least, TheatreWorks, in My Antonia and To Kill A Mockingbird.
Still a fan of great story-telling, her first published work was actually non-fiction – an essay, “The Glamorous Life”, which appeared in the anthology Single Woman of a Certain Age. Her commentary on Susan Boyle which appeared on Huffington Post gained her many fans and a pile of hate mail. She is currently at work on a novel about life on the national tour of a Broadway musical, tentatively titled Road Kill: Tales of a National Tour.
Great story-telling is all, she believes, whether performing or writing. She is looking forward to working on the performing elements of story-telling with a group of writers, coaching and coaxing a clear vision of what each one wants to say, with hints for relaxation and preparedness that may prove useful to writers reading their work aloud for an audience.