Classes

*Schedule is in Central Time

We have classes happening in two sessions; 11:00am-11:55am, and 2:30-3:25pm

(*times may be slightly different the day of the event)

There is room for up to 4-5 classes each session (with the possibility of adding a 6th class as needed.)

(*Please email Lorelei Skye if you have a class you would like to offer at Bardic Madness.)

Class session 1 (11 to 12):

Darts Available in Classroom

Shakespearean Original Pronunciation - Dame Ursula Mortimer and Master William Clerk
Description: Shakespeare’s actors did NOT speak like Sir Ian McKellen. But what did they sound like, and how do we know? The class will include a demonstration of the reconstructed Shakespearean Original Pronunciation (OP), details of how it was unearthed and how it’s being performed today, and practice notes for learning to speak it.
Fees: none
Age limit: aimed at 13+ but younger allowed with adult escort



Improv Games - John Inchingham
Master John Inchingham the Fool introduces newcomers to the wonders of improvisation and provides veteran performers with a chance to test their abilities. Improvisation is taught both as an art-form in and of itself and as a means of creating ideas for the aspiring bard (and for the seasoned tunesmith with writer’s block). The class is fun and informal. Come prepared to move and to make a fool of yourself!

To Be A Bard (*blurb updated 11/4/22) - Lorelei Skye  *Discussion level goal:  "201" / Intermediate 
What is a bard?  What are SCA Bardic Arts?  We will be exploring these questions & more beyond the 101 level! 
After 101, how does one keep growing in this art and discovering what's next?  How does one become their own bard, finding their own voice?  What is the importance of the bardic community?  
I hope to deepen knowledge about where the bardic arts have been socially and artistically, raise awareness of the breadth and scope bardic can encompass, and answer (at least in part) what it is bards do and the role you as a bard might play along the way. 
Planned Outline: 
- Brief bardic history from zero night through the present growth of online bardic.  How the SCA Bardic Arts have grown over 50 years and continue to play a vital role in the SCA online and in person.  (Touch on some important lessons learned along the way, such as how bardic can help grow and/or share a kingdom's identity.) 
- The definition of bards and the bardic arts.  (Touch on the recurring. and new, lines where Bardic blurs into other Performance Arts & being "bardic" while remaining and welcoming to all other types of performances whenever possible. )
- Next steps, including:  The power of words, using them well and wisely.  Being part of adding to the growing shared repertoire.  Striving to maintain a culture of courtesy instead of competition.  Venue creation/sharing and maintenance. Performing to one's personal best for others.  Listen, 'be present in the moment', during others' performances.  Sharing one's knowledge and encouragement.  Connect and engage with fellow bards near and far.
re: towards "Mastery":  Personal prowess in chosen artform(s). "Service rendered without chaos engendered."   Creation of venue. Uplifting and advancement for others over personal glory.  Some level of scholarship and/or research.  Knowing and sharing what would have been done in period, what/how you're doing the same and differently for the modern middle ages.
Some of the bards' roles for the "Modern Middle Ages":  entertain, add ambiance, chronicle/capture documented history and SCA culture & happenings and make them accessible to the listener... and more!
- And ways the Bardic Arts continue to provide a variety of "authentic experiences" through our social and casual bardic circles, as well as bardic concerts and the more formal A&S process- for the performers and our audiences.

Class session 2 (2:30 to 3:30):

Darts Available in Classroom

Shakespeare's Hidden Stage Directions - Llywelyn Glyndwr  (1 hour, no fee; handouts limited to 15)
Now that you've explored Shakespeare's original pronunciation (see morning classes),
let's delve into how The Bard embedded directions for the actor in his verse.


Anglo-Saxon Alliterative Verse and Riddles - Hilla Stormbringer
Not all poetry rhymes! In fact, the earliest known English poetry did not rely upon rhyme at all! It relied on alliteration and counted stresses instead. This form was used for poems short and long, and carried through to riddles as well. Come learn how this form of poetry is structured and learn how to write your own!

Bardic Video Voodoo - Cerian Cantwr & John Inchingham
Master Cerian Cantwr and Master John Inchingham the Fool describe and discuss many of the methods and cool special effects they have been utilizing to create their latest YouTube videos.  They hope to de-mystify the basic tools and techniques they have been experimenting with, in the hope of encouraging other bards to follow in their footsteps.  While, it would be useful to have previously viewed some or all of "Another Pennsic Denied Concert" (most of the video examples that Cerian and John will use can be found there), it is not a requirement.

Please join us and learn from our mistakes so that you can make new ones.
The power of Bardic Video Voodoo can be yours.

Another Pennsic Denied Concert    - https://www.youtube.com/watch?v=Mj97uu65nTg
A Pennsic Denied Concert    - https://www.youtube.com/watch?v=3ROMwDOOLzk