(Download full CV here.)
Area of Specialization: Acting theories, both as an area of study and as practical tools.
Current Research: Applying concepts from behavioral neuroscience to Stanislavsky’s methodology and theories to give performance scholars a richer and more precise understanding of Stanislavsky’s work, while allowing teachers and directors to zero in on the techniques that are most likely to help them achieve their goals. In particular, I am focused on the various ways in which the well-known (but not necessarily often discussed) Stanislavskian concepts of Imagination, Emotion and the Will -- all in service to a Goal-directed Action -- can be very effective streamlined practical guides for the actor.
Areas of Concentration: Euro-American Theatre History before 1800, Euro-American Theatre History after 1800, Euro-American Film History.
Areas of Interest: Directing theory, non-western theatre techniques and theory, the intersections between theatre, film and performance media, Holocaust theatre, refugee theatre, audience response theory, diversity and inclusion, and the use of theatre techniques as therapy for people with dementia and other cognitive difficulties.
EDUCATION
PhD in Theatre and Performance Studies, University of Georgia, Athens, GA, 4.0 average.
MFA in Theatre- Dramatic Media (directing emphasis) University of Georgia, Athens, GA, 4.0 average; Featured as 1 of 12 Outstanding UGA Students, 2004.
BFA in Theatre (acting emphasis) The Ohio State University, Columbus, OH, Cum Laude; Excellence in the Arts Award, 1990 Scarlet and Gray Mask Alumni Scholarship, 1989. Scarlet and Gray Mask Alumni Scholarship, 1987. Scarlet and Gray Academic Scholarship, 1986.
1989 Porthouse Theatre Intern Company, Kent, OH
Shakespeare with Steven Dennis, Linkletter training with Christine Adair.
1988 Maine State Music Theatre, Brunswick, ME
Technical Theatre Intern. Worked as an electrician and scene painter.
Additional Master Classes Attended:
PUBLICATIONS
“Book Review: New Directions in Teaching Theatre Arts,” SDC Journal (Stage Directors & Choreographers Society, Spring, 2020): 51-52.
“Page - Body - Performance: A Journey into Active Analysis and How it Helps the Actor’s Body Learn,” Stanislavski Studies, ed. Paul Fryer (Routledge, Taylor and Francis, February 2019).
“Stanislavsky In the World: The System and its Transformations Across Continents Review,” Methods: A Journal of Acting Pedagogy, Vol. 4, ed. Ruis Woertendyke (Pace University Press, 2018): 141-145.
“The Cognitive Stanislavsky in the Rehearsal Hall,” Stanislavski Studies, ed. Paul Fryer (Routledge, Taylor and Francis, May 2017): 67-74.
PRESENTATIONS
"Activating the Creative Will" on the Stanislavsky Here, Today, Now website sponsored by Stanislavsky Studies, October 2020.
"Creative Will Exercises" on the Stanislavsky Here, Today, Now website sponsored by Stanislavsky Studies, October 2020.
“Intimacy and the Brain: Why Adhering to Protocols Will Get a Better Performance” at the Finnish Film Affair and Helsinki Film Festival, September, 2020.
“Igniting the Actor’s Flame by Activating the Creative Will” at ATHE (Association for Theatre in Higher Education), Virtual Conference, July-August, 2020.
“Theatrical Intimacy and the Brain: Why Adhering to Protocols Will Get a Better Performance” at ATHE (Association for Theatre in Higher Education), Virtual Conference, July-August, 2020.
“Eisenstein and Stanislavsky: Setting Up the Film/Theatre Rift” at “The S Word Symposium: Stanislavsky and The Media,” London South Bank University, April 2020 (canceled due to Covid19).
“Blurring the Scenes of Culture in a Transitioning Performance Landscape” at ATHE (Association for Theatre in Higher Education), Orlando, August 2019.
“Who has the Right to Tell a Story in a Transitioning World?” session moderator at ATHE (Association for Theatre in Higher Education), Orlando, August 2019.
“Stanislavsky’s Imagination and Experiencing: The Cognitive Link” at “The “S Word: Stanislavski in Context” at the University of Malta Valletta Campus, April 2019.
“Going from Protester to Protestee: Who has the right to tell a story?” session moderator at the ATHE (Association for Theatre in Higher Education), Boston, August 2018.
“Towards a More Inclusive Acting Pedagogy: Exploring Gender Expression through Movement” at the ATHE (Association for Theatre in Higher Education), Boston, August 2018.
“Adjudicated Acting Exercises: Noodle in Action” at the ATHE (Association for Theatre in Higher Education), Boston, August 2018.
“How Will Graduate Students Revolutionize Directing” Moderator. at the ATHE (Association for Theatre in Higher Education), Boston, August 2018.
“The Desert of the Real: The Body as Scientific Instrument” at the ATHE (Association for Theatre in Higher Education), Las Vegas, August 2017.
“Collaboration: Directors and Designers” at the ATHE (Association for Theatre in Higher Education), Las Vegas, August 2017.
“The Cognitive Stanislavski in the Rehearsal Hall” at ATHE (Association for Theatre in Higher Education), Chicago, August 2016.
“The Cognitive Stanislavski in the Rehearsal Hall” at “The “S Word”: Stanislavski and the future of Acting, An international Symposium” at the Stanislavski Centre in Siddcup, England, March 2016.
“Sitaraha-- The Stars and Syria: Trojan Women, Two Plays of Asian Women Displaced by War,” at the 55th Annual Meeting of the Southeast Conference of the Association of Asian Studies, Harrisonburg, VA, January 2016.
“TOY STORY Turns 20: How Significant Was Pixar’s 1st Feature Film?” Wilson Center Cinema Roundtable, University of Georgia, April 2015.
“The Embodiment of ‘Evil Itself’ On Stage,” at the “George Tabori and the Theatre of the Holocaust International Conference,” Athens, GA, February 2015.
“Acting Theory and Cognitive Science,” 4 Minutes, 33 Seconds Spotlight on the Arts Festival, October 2014.
“Acting Styles and New Media: An Investigation with Motion Capture,” Theatre & Film Studies Department Colloquium, University of Georgia, September 2004.
INVITED LECTURES / WORKSHOPS
“Actively Analyzing A Doll’s House,” University of Georgia, Play Analysis, taught by Dr. Farley Richmond, Theatre & Film Studies Department, Spring 2019.
“The Actor’s Process,” University of Georgia, Theatre Appreciation, taught by Dr. Fran Teague, Theatre & Film Studies Department, Fall, 2018.
“Communicating What You Want: A Workshop for At-Risk Students,” University of Georgia, Division of Academic Enhancement, Fall 2017.
“The Actor’s Process,” University of Georgia, Theatre Appreciation, taught by Dr. Fran Teague, Theatre & Film Studies Department, Fall, 2017.
“Onstage Worlds,” University of Georgia, Theatre Appreciation, taught by Dr. Fran Teague, Theatre & Film Studies Department, Spring 2017.
“Directing and Staging: Wedding Band,” University of Georgia, Voices of Diversity, taught by Dr. Farley Richmond, Theatre & Film Studies Department, Spring 2017.
“Casting Trifles,” University of Georgia, Theatre Appreciation, taught by Dr. Farley Richmond, Theatre & Film Studies Department, Spring 2017.
“Directing and Staging: Spaces at Work,” University of Georgia, Voices of Diversity, taught by Dr. Farley Richmond, Theatre & Film Studies Department, Spring 2017.
“Directing Movement,” University of Georgia, Directing 1, taught by Dr. Farley
Richmond, Theatre & Film Studies Department, Fall 2016.
“The Male Aging Action Star,” University of Georgia, Film Melodrama, taught by Dr. Rielle Navitski, Theatre & Film Studies Department, Spring 2016.
“Feminist Film: An Introduction” University of Georgia, Introduction to Film, taught by Dr. Richard Neupert, Theatre & Film Studies Department, Fall 2015.
“Acting and Bergman: Persona in Action” University of Georgia, Introduction to Film, taught by Dr. Charlie Michael, Theatre & Film Studies Department Spring 2015.
“Art Cinema vs. Classic Hollywood,” University of Georgia, Introduction to Film, taught by Dr. Christopher Sieving, Theatre & Film Studies Department, Spring 2015.
“Acting in Film: Paradoxes at Work,” University of Georgia, Introduction to Film, taught by Dr. Richard Neupert, Theatre & Film Studies Department, Fall 2014.
AWARDS AND FELLOWSHIPS
Willson Center for Humanities and Arts Special Funding Grant, April 2020.
Office of the Vice President (OVPR) Foreign Travel Assistance, April 2019.
Willson Center Travel Grant, University of Georgia, April 2019.
University of Georgia Graduate School Dean’s Award for Arts & Humanities, March 2018.
Graduate School Travel Grant, University of Georgia, August 2017.
Diversity and Inclusion Graduate Fellowship, University of Georgia, 2016-2017.
Directing Program Debut Panel Travel Award, ATHE (Association for Theatre in
Higher Education), August 2016.
Outstanding Graduate Teaching Assistant Award, April 2016.
Office of the Vice President (OVPR) Foreign Travel Assistance, March 2016.
Southeast Conference of the Association of Asian Studies Graduate Travel Award, January 2016.
Graduate School Travel Grant, University of Georgia, January 2016.
RELATED PROFESSIONAL EXPERIENCE
Radford University, Radford VA
2020 Film Genres
2020 Film Theory and Criticism
2010-2019 The Circle Ensemble Theatre Company, Athens, GA
Founder and Producing Artistic Director; Acting Teacher
University of Georgia, Athens, GA:
2018 Introduction to DV Production
2017 Introduction to Acting Instructor
2017 Research Assistant, studying Kutiyattam Theatre in India, May - June 2017
2014-2017 Research/Teaching Assistant
Introduction to Film Instructor – two discussion sections
2014-2017 Seminar Assistant of the Teaching East Asia program each June
2006 Introduction to Acting Instructor
2002-2004 Research/Teaching Assistant
Introduction to Film Instructor – two discussion sections
“Virtual Vaudeville” Project Coordinator
1994-1996 State University of New York (SUNY) Stony Brook, NY
Beginning and Advanced acting classes instructor
2012-2014 Homestead Hospice Arts Outreach/Volunteer Coordinator
2008-2010 and 2013-2014, Westminster Christian Academy, Athens, GA
High School Drama Teacher and Director
2006-2009 Master’s Academy, Athens, GA
Drama and Film Teacher
2006 Synchronicity Ensemble Company, Atlanta, GA
Teacher/Director for the Playmaking for Girls Program
1993–2005 Buck’s Rock Arts Camp, New Milford, CT
Department Head, Theatre Director, Acting Teacher
2001-2003 DePass Dance Studios, Watkinsville, GA
Acting Class Instructor
1997-1998 John Casablanca’s Modeling and Career Center, Nashville, TN.
Acting class instructor
1991-1996 Theatre III Regional Theatre, Port Jefferson, NY
Pre-teen, Beginning Teen, Advanced Teen and Beginning Adult acting classes instructor
1989-1990 Grandparents’ Living Theatre, Columbus, OH
(A semi-professional senior citizen company currently called SRO – Senior
Repertory of Ohio)
Theatre Director and Instructor for acting classes that led to performances
* Additionally, taught private classes in acting for the camera, voice technique, children’s theatre and audition technique over the past 20 years.
PROFESSIONAL AFFILIATIONS
ATHE (Association for Theatre in Higher Education)
Social Media Editor for the Stanislavski Studies Journal, Current
SCMS (Society for Cinema and Media Studies)
SCSMI (Society for Cognitive Studies of the Moving Image)
SDC (Stage Directors and Choreographers Society)
Athens Area Arts Council Board Member, 2011-2014
Winterville Arts Council Board Member, 2016- 2019
Area of Specialization: Acting theories, both as an area of study and as practical tools.
Current Research: Applying concepts from behavioral neuroscience to Stanislavsky’s methodology and theories to give performance scholars a richer and more precise understanding of Stanislavsky’s work, while allowing teachers and directors to zero in on the techniques that are most likely to help them achieve their goals. In particular, I am focused on the various ways in which the well-known (but not necessarily often discussed) Stanislavskian concepts of Imagination, Emotion and the Will -- all in service to a Goal-directed Action -- can be very effective streamlined practical guides for the actor.
Areas of Concentration: Euro-American Theatre History before 1800, Euro-American Theatre History after 1800, Euro-American Film History.
Areas of Interest: Directing theory, non-western theatre techniques and theory, the intersections between theatre, film and performance media, Holocaust theatre, refugee theatre, audience response theory, diversity and inclusion, and the use of theatre techniques as therapy for people with dementia and other cognitive difficulties.
EDUCATION
PhD in Theatre and Performance Studies, University of Georgia, Athens, GA, 4.0 average.
MFA in Theatre- Dramatic Media (directing emphasis) University of Georgia, Athens, GA, 4.0 average; Featured as 1 of 12 Outstanding UGA Students, 2004.
BFA in Theatre (acting emphasis) The Ohio State University, Columbus, OH, Cum Laude; Excellence in the Arts Award, 1990 Scarlet and Gray Mask Alumni Scholarship, 1989. Scarlet and Gray Mask Alumni Scholarship, 1987. Scarlet and Gray Academic Scholarship, 1986.
1989 Porthouse Theatre Intern Company, Kent, OH
Shakespeare with Steven Dennis, Linkletter training with Christine Adair.
1988 Maine State Music Theatre, Brunswick, ME
Technical Theatre Intern. Worked as an electrician and scene painter.
Additional Master Classes Attended:
- “Best Practices” Theatrical Intimacy Education, September 2020.
- “New Directions in Staging Intimacy” ATHE Preconference, August 2019
- “Intimacy for the Stage for Performers” with Tonia Sina from Intimacy Directors International, 2019
- “Intimacy for the Stage for Directors” with Tonia Sina from Intimacy Directors International, 2019
- The S-Word Symposium; Active Analysis with Dr. Sharon Carnicke. 2018.
- “The Emotional Voice: the ALBA Method for Emotions” with Brenda Beck, Linda Brennan and Teresa Hayes from the American Academy of Dramatic Arts. 2017.
- “Exploding the Myths: Science, SuperScenes, and Stanislavsky” with Jane Brody and Stephanie Daventry French. 2016.
- Michael Chekhov technique with Joanna Merlin. 2013.
- Michael Chekhov technique with Cathy Albers. 2004.
- Fitzmaurice Voice technique with Maggie Surovell. 2003.
- Working in Film with Monty Markum (Assisted in coordinating workshop). 2005.
- “Auditioning for Broadway” with Maury Yeston (assisted in workshops), 2004, 2005, 2006.
- Motion Capture with Vicon. 2002.
PUBLICATIONS
“Book Review: New Directions in Teaching Theatre Arts,” SDC Journal (Stage Directors & Choreographers Society, Spring, 2020): 51-52.
“Page - Body - Performance: A Journey into Active Analysis and How it Helps the Actor’s Body Learn,” Stanislavski Studies, ed. Paul Fryer (Routledge, Taylor and Francis, February 2019).
“Stanislavsky In the World: The System and its Transformations Across Continents Review,” Methods: A Journal of Acting Pedagogy, Vol. 4, ed. Ruis Woertendyke (Pace University Press, 2018): 141-145.
“The Cognitive Stanislavsky in the Rehearsal Hall,” Stanislavski Studies, ed. Paul Fryer (Routledge, Taylor and Francis, May 2017): 67-74.
PRESENTATIONS
"Activating the Creative Will" on the Stanislavsky Here, Today, Now website sponsored by Stanislavsky Studies, October 2020.
"Creative Will Exercises" on the Stanislavsky Here, Today, Now website sponsored by Stanislavsky Studies, October 2020.
“Intimacy and the Brain: Why Adhering to Protocols Will Get a Better Performance” at the Finnish Film Affair and Helsinki Film Festival, September, 2020.
“Igniting the Actor’s Flame by Activating the Creative Will” at ATHE (Association for Theatre in Higher Education), Virtual Conference, July-August, 2020.
“Theatrical Intimacy and the Brain: Why Adhering to Protocols Will Get a Better Performance” at ATHE (Association for Theatre in Higher Education), Virtual Conference, July-August, 2020.
“Eisenstein and Stanislavsky: Setting Up the Film/Theatre Rift” at “The S Word Symposium: Stanislavsky and The Media,” London South Bank University, April 2020 (canceled due to Covid19).
“Blurring the Scenes of Culture in a Transitioning Performance Landscape” at ATHE (Association for Theatre in Higher Education), Orlando, August 2019.
“Who has the Right to Tell a Story in a Transitioning World?” session moderator at ATHE (Association for Theatre in Higher Education), Orlando, August 2019.
“Stanislavsky’s Imagination and Experiencing: The Cognitive Link” at “The “S Word: Stanislavski in Context” at the University of Malta Valletta Campus, April 2019.
“Going from Protester to Protestee: Who has the right to tell a story?” session moderator at the ATHE (Association for Theatre in Higher Education), Boston, August 2018.
“Towards a More Inclusive Acting Pedagogy: Exploring Gender Expression through Movement” at the ATHE (Association for Theatre in Higher Education), Boston, August 2018.
“Adjudicated Acting Exercises: Noodle in Action” at the ATHE (Association for Theatre in Higher Education), Boston, August 2018.
“How Will Graduate Students Revolutionize Directing” Moderator. at the ATHE (Association for Theatre in Higher Education), Boston, August 2018.
“The Desert of the Real: The Body as Scientific Instrument” at the ATHE (Association for Theatre in Higher Education), Las Vegas, August 2017.
“Collaboration: Directors and Designers” at the ATHE (Association for Theatre in Higher Education), Las Vegas, August 2017.
“The Cognitive Stanislavski in the Rehearsal Hall” at ATHE (Association for Theatre in Higher Education), Chicago, August 2016.
“The Cognitive Stanislavski in the Rehearsal Hall” at “The “S Word”: Stanislavski and the future of Acting, An international Symposium” at the Stanislavski Centre in Siddcup, England, March 2016.
“Sitaraha-- The Stars and Syria: Trojan Women, Two Plays of Asian Women Displaced by War,” at the 55th Annual Meeting of the Southeast Conference of the Association of Asian Studies, Harrisonburg, VA, January 2016.
“TOY STORY Turns 20: How Significant Was Pixar’s 1st Feature Film?” Wilson Center Cinema Roundtable, University of Georgia, April 2015.
“The Embodiment of ‘Evil Itself’ On Stage,” at the “George Tabori and the Theatre of the Holocaust International Conference,” Athens, GA, February 2015.
“Acting Theory and Cognitive Science,” 4 Minutes, 33 Seconds Spotlight on the Arts Festival, October 2014.
“Acting Styles and New Media: An Investigation with Motion Capture,” Theatre & Film Studies Department Colloquium, University of Georgia, September 2004.
INVITED LECTURES / WORKSHOPS
“Actively Analyzing A Doll’s House,” University of Georgia, Play Analysis, taught by Dr. Farley Richmond, Theatre & Film Studies Department, Spring 2019.
“The Actor’s Process,” University of Georgia, Theatre Appreciation, taught by Dr. Fran Teague, Theatre & Film Studies Department, Fall, 2018.
“Communicating What You Want: A Workshop for At-Risk Students,” University of Georgia, Division of Academic Enhancement, Fall 2017.
“The Actor’s Process,” University of Georgia, Theatre Appreciation, taught by Dr. Fran Teague, Theatre & Film Studies Department, Fall, 2017.
“Onstage Worlds,” University of Georgia, Theatre Appreciation, taught by Dr. Fran Teague, Theatre & Film Studies Department, Spring 2017.
“Directing and Staging: Wedding Band,” University of Georgia, Voices of Diversity, taught by Dr. Farley Richmond, Theatre & Film Studies Department, Spring 2017.
“Casting Trifles,” University of Georgia, Theatre Appreciation, taught by Dr. Farley Richmond, Theatre & Film Studies Department, Spring 2017.
“Directing and Staging: Spaces at Work,” University of Georgia, Voices of Diversity, taught by Dr. Farley Richmond, Theatre & Film Studies Department, Spring 2017.
“Directing Movement,” University of Georgia, Directing 1, taught by Dr. Farley
Richmond, Theatre & Film Studies Department, Fall 2016.
“The Male Aging Action Star,” University of Georgia, Film Melodrama, taught by Dr. Rielle Navitski, Theatre & Film Studies Department, Spring 2016.
“Feminist Film: An Introduction” University of Georgia, Introduction to Film, taught by Dr. Richard Neupert, Theatre & Film Studies Department, Fall 2015.
“Acting and Bergman: Persona in Action” University of Georgia, Introduction to Film, taught by Dr. Charlie Michael, Theatre & Film Studies Department Spring 2015.
“Art Cinema vs. Classic Hollywood,” University of Georgia, Introduction to Film, taught by Dr. Christopher Sieving, Theatre & Film Studies Department, Spring 2015.
“Acting in Film: Paradoxes at Work,” University of Georgia, Introduction to Film, taught by Dr. Richard Neupert, Theatre & Film Studies Department, Fall 2014.
AWARDS AND FELLOWSHIPS
Willson Center for Humanities and Arts Special Funding Grant, April 2020.
Office of the Vice President (OVPR) Foreign Travel Assistance, April 2019.
Willson Center Travel Grant, University of Georgia, April 2019.
University of Georgia Graduate School Dean’s Award for Arts & Humanities, March 2018.
Graduate School Travel Grant, University of Georgia, August 2017.
Diversity and Inclusion Graduate Fellowship, University of Georgia, 2016-2017.
Directing Program Debut Panel Travel Award, ATHE (Association for Theatre in
Higher Education), August 2016.
Outstanding Graduate Teaching Assistant Award, April 2016.
Office of the Vice President (OVPR) Foreign Travel Assistance, March 2016.
Southeast Conference of the Association of Asian Studies Graduate Travel Award, January 2016.
Graduate School Travel Grant, University of Georgia, January 2016.
RELATED PROFESSIONAL EXPERIENCE
Radford University, Radford VA
2020 Film Genres
2020 Film Theory and Criticism
2010-2019 The Circle Ensemble Theatre Company, Athens, GA
Founder and Producing Artistic Director; Acting Teacher
University of Georgia, Athens, GA:
2018 Introduction to DV Production
2017 Introduction to Acting Instructor
2017 Research Assistant, studying Kutiyattam Theatre in India, May - June 2017
2014-2017 Research/Teaching Assistant
Introduction to Film Instructor – two discussion sections
2014-2017 Seminar Assistant of the Teaching East Asia program each June
2006 Introduction to Acting Instructor
2002-2004 Research/Teaching Assistant
Introduction to Film Instructor – two discussion sections
“Virtual Vaudeville” Project Coordinator
- Facilitated communication between 8 different Universities
- Developed and oversaw website with extensive research area
- Contributed artistically on assistant directing, sound design, research, and motion capture.
1994-1996 State University of New York (SUNY) Stony Brook, NY
Beginning and Advanced acting classes instructor
2012-2014 Homestead Hospice Arts Outreach/Volunteer Coordinator
- Developed a full office training program
- Developed two Drama Therapy programs:
- SENIOR STORIES for General Populations (Non-Memory Care Units)
- SENIOR STORIES MC for Memory Care Units
2008-2010 and 2013-2014, Westminster Christian Academy, Athens, GA
High School Drama Teacher and Director
2006-2009 Master’s Academy, Athens, GA
Drama and Film Teacher
2006 Synchronicity Ensemble Company, Atlanta, GA
Teacher/Director for the Playmaking for Girls Program
1993–2005 Buck’s Rock Arts Camp, New Milford, CT
Department Head, Theatre Director, Acting Teacher
2001-2003 DePass Dance Studios, Watkinsville, GA
Acting Class Instructor
1997-1998 John Casablanca’s Modeling and Career Center, Nashville, TN.
Acting class instructor
1991-1996 Theatre III Regional Theatre, Port Jefferson, NY
Pre-teen, Beginning Teen, Advanced Teen and Beginning Adult acting classes instructor
1989-1990 Grandparents’ Living Theatre, Columbus, OH
(A semi-professional senior citizen company currently called SRO – Senior
Repertory of Ohio)
Theatre Director and Instructor for acting classes that led to performances
* Additionally, taught private classes in acting for the camera, voice technique, children’s theatre and audition technique over the past 20 years.
PROFESSIONAL AFFILIATIONS
ATHE (Association for Theatre in Higher Education)
- Directing Focus Group Co-Graduate/Early Career Representative 2017-2019
- Directing Focus Group Communications Officer 2019-Current
- Directing Focus Group Conference Planner 2020-Current
Social Media Editor for the Stanislavski Studies Journal, Current
SCMS (Society for Cinema and Media Studies)
SCSMI (Society for Cognitive Studies of the Moving Image)
SDC (Stage Directors and Choreographers Society)
Athens Area Arts Council Board Member, 2011-2014
Winterville Arts Council Board Member, 2016- 2019
