Professor

The Complete Artist in Safe and Brave Spaces

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.

Specializations:

· 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:

Align posture, gesture, and blocking
Increase awareness of bodily movement in scene work
Adapt positions in classrooms and rehearsal spaces, on stage and on set.
Instruct in fit of Personal Protective Gear/equipment, makeup, and costumes

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:

Support cast members as boundaries as established.
Identify a “safe word” to pause and “placeholders” before intimacy choreography.
Choreograph naming anatomical markers and spacing for characters.
Notate and make an audio recording of the choreography for the prompt book.
Identify boundaries in fittings and dressing for rehearsal, performance, and filming.
Give breaks as needed to address consent
Limit people in rehearsal, costume shops, dressing rooms, backstage, and on set.

Movement Specialist

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:

Laban and Bartenieff
Lecoq, mime, and Decroux
Michael Chekhov and mask
Alexander, Pilates, and Feldenkrais
Meyerhold, RasaBoxes, and Bioenergetics
Suzuki and Viewpoints,
Commedia dell’Arte,
Improvisation and stand-up comedy
Stage combat and intimacy choreography

A sensitive, toned body allows actors to express emotion in action to visualize the story.

Artemis Preeshl

Professor

The Complete Artist in Safe and Brave Spaces

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