
"That's it kitty, breeeeeeeath"
Recently I’ve started an acting conservatory program at Stella Adler, which includes a round of classes including a voice and speech class – a technical aspect of training that any actor will tell you is unthinkable to neglect. Early in the term, voice and speech class has mostly consisted of my classmates and I lying on our backs and breathing deeply. As I stared at the ceiling and imagined my intercostal muscles spreading apart, I couldn’t help but consider how this strange work to playwriting:

