Teaching Experience

University

University of Pittsburgh, Pittsburgh, PA, Fall 2014-Spring 2016 – Instructor of Record

  • Introduction to Performance: An introductory course serving as both a general arts requirement and the prerequisite for further acting courses in the department. Teaching focused on the exploration of the voice and body and basics of acting technique, especially objectives and tactics and given circumstances.
  • Acting 1: A beginning acting course that applied basic acting techniques based on Stanislavski in a rigorous method. Students were led through assignments, exercises, and text work on objectives and tactics, rehearsal and audition techniques, character development, and given circumstances. Scene and monologue work concentrated on realistic contemporary and late 20th-century texts by a diverse range of authors. Also, students built a foundation in Linklater based vocal technique and Viewpoints to discover a deeper connection with their vocal and physical selves.
  • Creating A Character: An acting course on creating character through the physical and psychophysical techniques of Jacques Lecoq and Michael Chekhov. The semester began with an exploration of neutral mask to give the students a deeper and simpler connection to their physical selves. Then students spent time exploring each technique and applying it to the creation of a character, including a self-created character mask. As a culmination, the students experimented with blending the techniques in the performance of a text and character.
  •  Voice & Movement 1: (Teaching Assistant) An exploration of vocal production, self-awareness, relaxation work, and finding physical neutrality. Students studied the vocal exercises and approach of Kristen Linklater and movement techniques from The Alexander Technique, Jerzy Grotowski, and Viewpoints. Actors learned to create a vocal and physical warm-up, assess their instrument and develop strategies and awareness around their strengths and weaknesses.
  • Workshops: With the guidance of the Head of Performance, I designed a two-day new teacher workshop for the Theatre Arts department’s Introduction to Performance class. I met the goal of establishing teaching guidelines that contain uniform objectives, expectations and curriculum. This provided incoming teachers with the materials and support necessary to teach the class and provide our students with a common theatrical training background and vocabulary. I co-taught the new workshop with the Head of Performance and it will be used for all incoming teachers. Additionally, I held workshops for the undergraduates in audition preparation and in exploring Shakespeare’s heightened language.

Other Teaching Experience

Hudson Valley Shakespeare Festival, Garrison, NY, 2014 – Teaching Artist.

  • Educational Outreach Workshops: Taught weeklong workshops exploring Shakespeare with high school students and other organizations (incl. West Point Military Academy) through games, exercises, and scene work to engage imagination and increase understanding of complex text and performance.
  • Shakespeare Summer Camp: Served as the acting teacher, teaching Shakespeare acting techniques to various ages through games, exercises, scene work and performance.

Private Audition and Public Speaking Coach, New York, NY, 2009-2014. Guided and directed actors and public speakers to enhance their performance, presence and use of rhetoric.

The University of Chicago Summer Program for Gifted High School Students, Chicago, IL, Summer 1998 and 1999 – Drama Program Head Teacher/Teacher. Lead teachers and students in scene work, voice, movement, and theater games. Designed curriculum for a diverse group of students.

Professional Affiliations

Actors Equity Association (AEA), Association for Theatre in Higher Education (ATHE), Southeastern Theatre Conference (SETC), Michael Chekhov Association (MICHA)

Teaching & Research Interests

Acting (Classical & Contemporary), Directing, Michael Chekhov Technique, Jacques Lecoq Technique, Heightened Text Techniques, Synthesizing Physical and Text-based Acting Approaches

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