Actors imagine to bring the playwright’s characters to life by:
· interpreting text and stage directions and given circumstances
· analyzing language, action, and reaction
· flowing through the emotional journey
· giving dynamic voice to ideas, intentions, and plans
· realizing the staging of action and movement
I create characters through training in Stanislavski, Meisner, Michael Chekhov, and Viewpoints
Directing in the Academy
As a director, I collaborate with the creative team, actors, and crew to interpret design a stylistic production that speaks to its contemporary audience. From conceptualization to realization, the story comes alive through sensitivity toward the playwright’s themes, motivations and emotional arcs of the characters, and the socioeconomic and dramatic circumstances of the plot. The director illuminates the world of the play through composition and picturization in time and on budget. Keen attention to the language, space, and design complement the development of speech, movement, and acting from rehearsal to stage or set.
Voice Speech and Dialect
As a voice teacher, I encourage speakers to integrate the physical and aural experience with underlying science of the voice. Voice artists develop breath support, pitch, pace, resonance, and range to create dynamic sound that engages audiences. I coach professionals and students on textual analysis, heightened speech, accent modification, dialects, public speaking, interviews, musical theatre, voiceover, audiobooks, radio dramas, broadcast, and film, television, and digital media.
· Certified Associate Teacher of Fitzmaurice Voicework
· Designated Distinguished Toastmaster
· National and international work with Patsy Rodenberg, Arthur Lessac, and Kristin Linklater
· Musical Theatre singing in studios of Allan Lokos, Kimberly Vaughn, and Sande Campbell
· Membership in SAG-AFTRA Voice Lab
Shakespeare at The Farm with Dr. Artemis Preeshl at Theatre Wallay, Islamabad, Pakistan
Meet Dr. Artemis Preeshl, a Fulbright specialist, theatre artist, voice and speech coach. She is also the Director of our upcoming event, "Shakespeare at the Farm", which will showcase selected scenes and monologues from the bard by the Theatre Wallay team, developed through preparatory workshops with Dr. Preeshl. Listen...
Intimacy for Stage and Film in Safe and Brave Spaces
Dramatic intimacy and pedagogical touch support standards in theatre training for live and recorded mediums. Teaching methods include:
To ensure consent, request permission of the scene partner before making contact through open-ended questions. If and when a scene partner says, “No,” offer modified options. If the boundary changes, make accommodations. To maintain a professional theatrical environment:
In movement, I promote safe and respectful movement in actor training and movement for stage, film, television, and digital media productions. Movement is my first language. Ideas frequently bubble up from my body. Efficient and easy motion articulates action in space. Visualization of emotion in motion through eye contact, text, and consensual touch to enliven the text and dance. A movement artist brings forth intrinsic elements in the live, recorded, and online mediums. Each character reacts to gravity timing, and tempo to define a distinct style in a live and/or virtual environment. To create physical theatre and stylized movement, I draw on significant training in:
A sensitive, toned body allows actors to express emotion in action to visualize the story.
Instant fun at 'Instant Laughter'
Elon News Network
By Caroline Perry
Though the show is created completely in the moment, to prepare for the show, the group practices the different improv games they will play during the live show. But since the company undergoes changes each year, some of the games don't fit. So, the group then changes the show to fit with the style and tone of the current cast by choosing improv scenarios that they are best at. Read Full Prevew