Margolis Brown Adaptors Company

MBAC theatrical productions are collaboratively written original performance works produced by the company. Productions are characterized by frequent utilization of multimedia and sparse text, thereby relying on unconventional means of dramatic conveyance. Examples of those alternative dramatic vehicles are projected images, prerecorded or live sound, or an actor's physicality. In addition, the actors often appear in non-representational dramatic situations. Performance History ::*Autobahn - 1985, BACA, Brooklyn, NY ::*The Bed Experiment - 1987, BACA, Brooklyn, NY ::*Decodance - 1988, BACA, Brooklyn, NY ::*In Search of Planet Eden or Sodom by the Sea - 1989, Coney Island, Brooklyn, NY ::*Suite Sixteen - 1990, BACA, Brooklyn, NY ::*The Dilemma of Desmodus & Dyphilla - 1991, Arts Awareness, Lexington, NY ::*Koppelvision - 1992, St Clement's Church, New York, NY ::*Cafe Paradise - 1993, Second Story Theatre, Brooklyn, NY ::*Vidpires - 1995, The Southern Theater, Minneapolis, MN ::*Vanishing Point - 1996, The Southern Theater, Minneapolis, MN ::*The Time of Your Life - 1998, Minnesota Science Museum, Saint Paul, MN ::*Starry Messenger - 1999, Children's Theatre Company, Minneapolis, MN ::*American Safari - 2000, The Red Eye Theater, Minneapolis, MN ::*Sleepwalkers - 2002, O'Shaugnessy Auditorium, St Paul, MN ::*The Human Show - 2005, Intermedia Arts, Minneapolis, MN ::*Cyclopedia - 2008, Illusion Theatre, Minneapolis, MN; Just Off Broadway Theater, Kansas City, MO; Baltimore Theatre Project, Baltimore, MD ::*In Search of Tonto Blue - 2010, 7 Stages, Atlanta, GA; Baltimore Theatre Project, Baltimore, MD; Illusion Theatre, Minneapolis, MN ==Margolis Method==

Margolis has developed a physically based approach to performance called the Margolis Method. The method, along with 25 years of personal research, takes inspiration from the research of such artists as Etienne Decroux, Bertolt Brecht, and Jerzy Grotowski. The method's goal is to analyze and focus the dramatic force and emotion created by an actor's physicality to further the creative and expressive process. It seeks to empower the actor to work simultaneously as a director, playwright and performer. The Margolis Method was developed in response to what Margolis saw as a fragmented and ineffective way of teaching actors in America. Pedagogically, Margolis rejected the notion that actor training could be broken down into separate contexts (i.e.: stage "voice" and "movement" classes) and instead suggested that all aspects of actor training are inextricably linked. Rather than focusing primarily on establishing character through developing the character's psychological motivations and emotional states, Margolis sought ways to approach drama and character from a physical perspective as well. To accomplish this, Margolis Method focuses on theatrical notions like conflict, timing, and neutrality and employs concepts borrowed from physics, such as inertia, lines of force and density (as well as concrete manifestations of these principles, such as: pendulums, pulleys and elastics). Residency and Workshop Sites Source: • Master teacher for American College Theatre Festival (2000–2010) ::* Master teacher for Phoenix Fringe Festival, Arizona State University ::* Millikin University ::* Master Teacher for Rocky Mountain Theatre Association Festival ::* Association of Professional Actors and Directors of Catalunya, Barcelona (2010, 2008, 2006) ::* Towson University MFA Program ::* University of Maryland, Baltimore County ::* The University of Missouri Kansas City ::* Master Teacher Cos ’06 International Theatre Festival, Reus, Spain ::* University of Nevada Las Vegas ::* Luther College, ::* Saint Mary's University, Winona, MN ::* Ringling Brothers Clown College, WI ::* Theatre Mu, Minneapolis, MN ::* George Mason University ::* Montclair State University ::* Viterbo University, La Crosse, WI ::* University of Wisconsin–Stevens Point ==References==