Teaching
Teaching Philosophy
My teaching is inspired by the pedagogical approaches outlined by bell hooks in Teaching to Transgress, employing an “engaged pedagogy” that resists biased and hegemonic systems of power. In seeking to redefine notions of academic rigor, I challenge students to assist me in creating an exciting learning space where student leadership is not only valued but integral to the learning process. My courses are designed to inspire students to enter into vulnerable and intimate spaces, becoming aware of their subjectivity so that they can ethically engage with intercultural material.
My syllabi are intentionally intersectional but also provide space for students to initiate their own investigations, discovering the ways in which performance can serve as a vehicle to social change. I pair academic assignments aimed at preparing students for future scholarship with creative writing. In my classes, students often write a personal narrative called a “story of self,” based on Harvard Lecturer Marshall Ganz’s exercise for community organizing and ensemble building. I couple the assignment with readings from O Solo Homo, a “story of self” anthology, and an interactive lecture on dramatic structure. Students become dramaturgs of their own narratives when they are asked to position the story through a specific conflict they have overcome. The intimate nature of these creative projects involves the creation of a brave and compassionate classroom where students hold space for one another while they share their personal narratives. During the course, students write a 10-minute play based on a political or social topic they have researched. Usually given as a final assignment, the 10-minute play requires that students marry research, dramaturgy, dramatical structure, and the use of a personal voice. Using Liz Lerman’s Critical Response Process, each student learns how to give critical and compassionate feedback on works in progress.
As an educator of theatre practice, I balance the technical artistry actors need to tackle any role with the training needed to become theatrical innovators, devisers, and creators. This entails the ability to offer their unique facets to a director in a traditionally hierarchical production, but also to contribute to a collaborative piece, solo show, or site-specific performance art piece. I train actors and directors to fully explore each emerging aspect of their identities through an engagement with a broad and inclusive range of techniques and texts. Years of professional directing experience has taught me that theatre practitioners who contribute autonomously to a diverse range of theatrical works tend to be incredibly employable. Rather than waiting for the work to find them, these autonomous artists adapt to changing circumstances and create opportunities to use their skills in nontraditional settings. Actors and directors who harness their agency also tend to invest in inclusive projects that foster diversity – in all its many forms - on stage.
I am committed to making academia a more hospitable place for historically marginalized students. Whether I am teaching theatre history, writing, directing, or acting, I teach through an active engagement with the material and a sincere investment in a dialogical exchange with my students. My classroom is a vehicle for generating conversations and relationships that cross gender, racial, and class divides. Above all else, I design courses that give students the opportunity to experiment, take risks, be creative, engage with difference, and introduce holistic pedagogies that can help temper their anxieties and foster healthy learning habits, developing lifelong critical thinkers and agents of change.
My syllabi are intentionally intersectional but also provide space for students to initiate their own investigations, discovering the ways in which performance can serve as a vehicle to social change. I pair academic assignments aimed at preparing students for future scholarship with creative writing. In my classes, students often write a personal narrative called a “story of self,” based on Harvard Lecturer Marshall Ganz’s exercise for community organizing and ensemble building. I couple the assignment with readings from O Solo Homo, a “story of self” anthology, and an interactive lecture on dramatic structure. Students become dramaturgs of their own narratives when they are asked to position the story through a specific conflict they have overcome. The intimate nature of these creative projects involves the creation of a brave and compassionate classroom where students hold space for one another while they share their personal narratives. During the course, students write a 10-minute play based on a political or social topic they have researched. Usually given as a final assignment, the 10-minute play requires that students marry research, dramaturgy, dramatical structure, and the use of a personal voice. Using Liz Lerman’s Critical Response Process, each student learns how to give critical and compassionate feedback on works in progress.
As an educator of theatre practice, I balance the technical artistry actors need to tackle any role with the training needed to become theatrical innovators, devisers, and creators. This entails the ability to offer their unique facets to a director in a traditionally hierarchical production, but also to contribute to a collaborative piece, solo show, or site-specific performance art piece. I train actors and directors to fully explore each emerging aspect of their identities through an engagement with a broad and inclusive range of techniques and texts. Years of professional directing experience has taught me that theatre practitioners who contribute autonomously to a diverse range of theatrical works tend to be incredibly employable. Rather than waiting for the work to find them, these autonomous artists adapt to changing circumstances and create opportunities to use their skills in nontraditional settings. Actors and directors who harness their agency also tend to invest in inclusive projects that foster diversity – in all its many forms - on stage.
I am committed to making academia a more hospitable place for historically marginalized students. Whether I am teaching theatre history, writing, directing, or acting, I teach through an active engagement with the material and a sincere investment in a dialogical exchange with my students. My classroom is a vehicle for generating conversations and relationships that cross gender, racial, and class divides. Above all else, I design courses that give students the opportunity to experiment, take risks, be creative, engage with difference, and introduce holistic pedagogies that can help temper their anxieties and foster healthy learning habits, developing lifelong critical thinkers and agents of change.
"I appreciate you for giving me the opportunity to be myself in your classroom. Your class helped me a lot because I was having a tough time due to personal issues; and your class brought light back into my spirit. You're an amazing teacher and again, thank you!"
"Intro to Acting really helped me get out of my shell. Jayme was very supportive yet strict when needed. I love Jayme to death!"
"I absolutely loved Jayme’s Intro to Theatre course. It was something I never saw myself doing but I enjoyed being able to experience activities and warm ups with my classmates."
"You and your class have made my first semester and the transition to college significantly easier. You fostered such a caring, accepting, compassionate, and really just beautiful classroom atmosphere, despite not having a physical classroom. I learned so much about myself as a writer and as a person through this course."
"I loved this class. It was by far my favorite class of the semester, and I always looked forward to it each week. Jayme kept the class extremely interesting and engaging, and my abilities as a critical writer drastically improved. In addition, this class taught me how to conduct proper and thorough research in order to write a well-developed research paper. I would recommend this class to absolutely everyone; it is extremely fun and it will improve anyone's writing no matter what level they currently write at."
"Class discussions were very comfortable, which resulted in more thoughtful and open conversation. This is mostly due to the professor making us 'warm up' by playing a theatre game at the start of each class. By physically waking up more and embarrassing ourselves a little bit, we were in a much more productive mindset to comfortably have controversial discussions as a group."
Courses
ASSISTANT PROFESSOR, UNION COMMONWEALTH UNIVERSITY (KY)
THTR 381A: Special Topic in Improv
Fall 2024
This course focuses on the basics of improvisation. The course helps students learn the fundamental tools of improv through engaging exercises, including long and short form improv, character creation, and sketch development. In addition, improv is designed to bolster your soft skills (agreement, active listening, being supportive, and collaboration).
THTR 301: Directing
Spring 2024
Directing is an upper-level course in directing for the stage. It offers students an overview of significant theatre directors, exercises to practice various directing methods, and the opportunity to direct a new play as part of Union College's New Play Festival.
THTR 252A: Voice & Movement
Fall 2023
Voice and Movement is part acting class, part public speaking, and part embodied expression. Voice & Movement is geared towards students who want to increase their self-awareness and confidence, as well as their ability to be present/think on their feet.
THTR 131A: Introduction to Theatre (click here for course syllabus)
Spring 2023, Fall 2023, Spring 2024, Fall 2024
Intro to Theatre is a historical, theoretical, and practical initiation to the process of theatre making. This course will provide the student with a strong foundational knowledge of theatrical activity, which can be used after this class to enhance skills as a reader, writer, and audience member. Intro to Theatre is a survey of influential theatrical traditions and innovations, drama, and theatre artists, historical and contemporary. Through readings, discussion, and projects, students will explore significant dramatic works and their connection to the political, economic, and social movements of their time.
THTR 330A: Theatre for Social Change
Spring 2023
Scholars and practitioners use the term “theatre and social change” to describe a wide range of theater practices that bring professional theater-makers and community participants together to create theater, often with the aim of addressing social issues. In this course, we will examine several of the key methodologies used within the field and will analyze the ways in which those practices are modified based on the particular geographical and cultural contexts in which they are used. This course provides a foundational understanding of a key practice in the field and challenges students to create their own community-based performance.
THTR 151A: Introduction to Acting (click here for course syllabus)
Spring 2023, Fall 2023, Spring 2024, Fall 2024
Intro to Acting develops and explores approaches to individual acting process and practice through the use of theater games, improvisation, class exercises and partnered scene work. Student actors engage in study that improves their ability to speak, move with intention and confidence, use and command playing space, engage and harness the imagination, connect to feelings, work with ease and relaxation, cultivate healthy egos, communicate clearly and respectfully with others, and serve the work as dramatic interpreters. Together we will commit to creating and fostering a learning environment of diversity, inclusion and equity, where every participant feels welcome and supported to do their best work.
INSTRUCTOR OF RECORD, CORNELL UNIVERSITY
PMA 1145: The Personal is Political, Feminist Performance 1900-Now (click here for course syllabus)
Fall 2020, Spring 2021, Fall 2022
Is feminism a set of personal experiences, political ideas, or the ideology that women and men are equal? How has feminism been represented in the public sphere? How does feminist performance contribute to our understandings of identity, power, and community? Grounded in a study of dramatic literature and theatrical spectacles, this course discusses how women in theater contribute to and challenge prevalent understandings of history, gender identity, and masculinist ideas of power. With an emphasis on in-class discussions and peer editing, this class will foster and enhance each student’s ability to produce coherent, concise, persuasive prose in the form of critical arguments. Students will analyze examples of performance through critical texts from fields of performance studies, gender and sexuality studies, and critical race theory.
PMA 1144: Propaganda, Protests, and Performance (click here for course syllabus)
Fall 2018 and Spring 2019
In the U.S. political climate, where do we draw the line between politics and performance? How have Americans historically used performance to advance political propaganda? In what ways does performance facilitate real social change? This course moves in time from the suffragettes, to the depression, to our current media fueled political landscape. Using historical texts, articles, plays, and online news journals, students will explore a broad range of political theater while examining how performance shapes American culture and identities. The writing in this course is a mix of short essays, creative writing, and a research paper. Each assignment builds off the next, offering students lessons in summary, analyses, research, and finding their own voice.
PMA 1133: Sex Acts, American Drama 1950-Present (click here for course syllabus)
Fall 2016 and Spring 2017
This course asks: how does sex in theater and performance contribute to our understandings of identity, power, and the community? Focusing on how desire is manifested through text, the actor, and the audience, this class will engage in scholarship and plays that use camp, personal narratives, realism, and experimental techniques in order to engage its subject. Who is the play being written for? How does the style of play manipulate the audience’s reception of it? Is the playwright creating a community amongst the audience or ostracizing them? What methodologies is the playwright utilizing? How does the reader feel when they read the play? Why?
FACILITATOR OF RECORD, eCORNELL
Executive Presence: eCornell Certificate Program
Fall 2019, Winter 2020, Spring 2020, Summer 2020, Winter 2021, Fall 2022, Spring 2023
In this 15-week certificate program, students learn by doing to refine public speaking skills and build confidence in their own presence. Executive presence is a vital skill in business and life: being able to connect with other people and communicating genuine emotion, even in the most intimidating circumstances. Students go through each module, taking several videos of themselves which help them practice analyzing their performance, repeating, and refining their work in exercises and acting techniques specially designed by Cornell Theatre Professor David Feldshuh. The core skills, analytical tools, and training exercises presented in this program are intended to position students for a lifetime of development.
TEACHING ASSISTANT, CORNELL UNIVERSITY
FGSS 2010: Introduction to Feminist, Gender, and Sexuality Studies
Spring 2020
TA with Prof. Jane Juffer
Feminist, Gender, & Sexuality Studies is an interdisciplinary program focused on understanding the impact of gender and sexuality on the world around us and on the power hierarchies that structure it. This course provides an overview of key concepts, questions, and debates within feminist studies both locally and globally, focusing mainly on the experiences, historical conditions, and concerns of women as they are shaped by gender and sexuality. We will read a variety of texts--personal narratives, historical documents, and cultural criticism--across a range of disciplines, and will consider how larger structural systems of both privilege and oppression affect individuals' identities, experiences, and options. We will also examine forms of agency and action taken by women in the face of these larger systems.
PMA 3815: Acting in Public: Performance in Everyday Life
Spring 2019
TA with Prof. David Feldshuh
Telling jokes to a friend, making introductions, guiding meetings large and small, constructing and delivering business presentations, legal arguments or formal speeches are all examples of public performances. The purpose of this course is to increase the student's effectiveness in meeting the demands and enjoying the opportunities of public performance. What are the hallmarks of effective performance and how can you learn them? Employing techniques from actor/director training as well as dramatic writing, this course focuses the student on their own resources and self-imposed restrictions as a public speaker in everyday life. Subjects explored will include stage presence, audience connection, stage fright and mannerisms, speech making as storytelling, and gaining familiarity and finding comfort with one's own voice and gestures. Public speaking will be taught as a craft that can be learned through understanding and practice.
Summer College: Shakespeare on Stage
Summer 2018
TA with Prof. Bruce Levitt
In this program, students explore how clues to the acting and staging of Shakespeare's plays are embedded in the texts themselves. Understanding these hidden directions will deepen participant's understanding—and enjoyment—of these influential works of art. Along the way, students will develop and improve the critical thinking and writing skills essential for college success.
PMA 3757: American Drama and Theatre
Spring 2018
TA with Prof. Sara Warner
Explores major American playwrights from 1900 to 1960, introducing students to American theatre as a significant part of modern American cultural history. We will consider the ways in which theatre has contributed to the construction and deconstruction of a national identity. Similarly, we will examine the influence of the American Theatre on and in film. We will pay special attention to the social, political, and aesthetic contexts of the time period and discuss the shifting popularity of dramatic forms, including melodrama, realism, expressionism, absurdism, and the folk play, in the American theatre canon. Authors include O'Neill, Glaspell, Odets, Rice, Hellman, Hughes, Miller, Williams, and Albee, among others.
AMST 2010: American Studies Popular Culture 1900-1945
Fall 2015
TA with Prof. Glenn Altschuler
This course deals with American popular culture in the period between 1900 and the end of World War II. As we examine best-sellers, films, sports and television, radio, ads, newspapers, magazines, and music, the goal is to better understand popular culture as “contested terrain,” the place where social classes, racial and ethnic groups, women and men, the powerful and the less powerful, seek to “control” images and themes. Topics include the Western; Cultural Heroes and the Cult of Individualism in the 1920s; The Hays Code and the Black Sox scandal; Mae West and the “New Women”; Advertising in an Age of Consumption; Gangsters and G-Men; and Jackie Robinson and the American Dilemma.
AMST 2020: American Studies Popular Culture 1950-2000
Spring 2016
TA with Prof. Glenn Altschuler
This course treats the period from 1950 to 2000 as we examine best-sellers, films, sports and television, radio, ads, newspapers, magazines, and music. We try to better understand the ways in which popular culture shapes and/or reflects American values. The course also depicts popular culture as “contested terrain,” the place where social classes, racial and ethnic groups, women and men, the powerful and less powerful seek to “control” images and themes. Topics include The Honeymooners and 1950s television; soap operas; “gross-out” movies; Elvis; the Beatles, and Guns ‘n Roses; gothic romances; and People Magazine and USA Today.
PMA 3880: Fundamentals of Directing I
Fall 2016
TA with Prof. David Feldshuh
Focused, practical exercises teach the student fundamental staging techniques that bring written text to theatrical life. A core objective is to increase the student's awareness of why and how certain stage events communicate effectively to an audience. Each student directs a number of exercises as well as a short scene.
PMA 2800: Intro to Acting
Spring 2015
TA with Instructor Emily Ranii
An introduction to the actor's technique and performance skills, exploring the elements necessary to begin training as an actor, i.e., observation, concentration, and imagination. Focus is on physical and vocal exercises, improvisation, and text and character. There is required play reading, play attendance, and some scene study.
THTR 381A: Special Topic in Improv
Fall 2024
This course focuses on the basics of improvisation. The course helps students learn the fundamental tools of improv through engaging exercises, including long and short form improv, character creation, and sketch development. In addition, improv is designed to bolster your soft skills (agreement, active listening, being supportive, and collaboration).
THTR 301: Directing
Spring 2024
Directing is an upper-level course in directing for the stage. It offers students an overview of significant theatre directors, exercises to practice various directing methods, and the opportunity to direct a new play as part of Union College's New Play Festival.
THTR 252A: Voice & Movement
Fall 2023
Voice and Movement is part acting class, part public speaking, and part embodied expression. Voice & Movement is geared towards students who want to increase their self-awareness and confidence, as well as their ability to be present/think on their feet.
THTR 131A: Introduction to Theatre (click here for course syllabus)
Spring 2023, Fall 2023, Spring 2024, Fall 2024
Intro to Theatre is a historical, theoretical, and practical initiation to the process of theatre making. This course will provide the student with a strong foundational knowledge of theatrical activity, which can be used after this class to enhance skills as a reader, writer, and audience member. Intro to Theatre is a survey of influential theatrical traditions and innovations, drama, and theatre artists, historical and contemporary. Through readings, discussion, and projects, students will explore significant dramatic works and their connection to the political, economic, and social movements of their time.
THTR 330A: Theatre for Social Change
Spring 2023
Scholars and practitioners use the term “theatre and social change” to describe a wide range of theater practices that bring professional theater-makers and community participants together to create theater, often with the aim of addressing social issues. In this course, we will examine several of the key methodologies used within the field and will analyze the ways in which those practices are modified based on the particular geographical and cultural contexts in which they are used. This course provides a foundational understanding of a key practice in the field and challenges students to create their own community-based performance.
THTR 151A: Introduction to Acting (click here for course syllabus)
Spring 2023, Fall 2023, Spring 2024, Fall 2024
Intro to Acting develops and explores approaches to individual acting process and practice through the use of theater games, improvisation, class exercises and partnered scene work. Student actors engage in study that improves their ability to speak, move with intention and confidence, use and command playing space, engage and harness the imagination, connect to feelings, work with ease and relaxation, cultivate healthy egos, communicate clearly and respectfully with others, and serve the work as dramatic interpreters. Together we will commit to creating and fostering a learning environment of diversity, inclusion and equity, where every participant feels welcome and supported to do their best work.
INSTRUCTOR OF RECORD, CORNELL UNIVERSITY
PMA 1145: The Personal is Political, Feminist Performance 1900-Now (click here for course syllabus)
Fall 2020, Spring 2021, Fall 2022
Is feminism a set of personal experiences, political ideas, or the ideology that women and men are equal? How has feminism been represented in the public sphere? How does feminist performance contribute to our understandings of identity, power, and community? Grounded in a study of dramatic literature and theatrical spectacles, this course discusses how women in theater contribute to and challenge prevalent understandings of history, gender identity, and masculinist ideas of power. With an emphasis on in-class discussions and peer editing, this class will foster and enhance each student’s ability to produce coherent, concise, persuasive prose in the form of critical arguments. Students will analyze examples of performance through critical texts from fields of performance studies, gender and sexuality studies, and critical race theory.
PMA 1144: Propaganda, Protests, and Performance (click here for course syllabus)
Fall 2018 and Spring 2019
In the U.S. political climate, where do we draw the line between politics and performance? How have Americans historically used performance to advance political propaganda? In what ways does performance facilitate real social change? This course moves in time from the suffragettes, to the depression, to our current media fueled political landscape. Using historical texts, articles, plays, and online news journals, students will explore a broad range of political theater while examining how performance shapes American culture and identities. The writing in this course is a mix of short essays, creative writing, and a research paper. Each assignment builds off the next, offering students lessons in summary, analyses, research, and finding their own voice.
PMA 1133: Sex Acts, American Drama 1950-Present (click here for course syllabus)
Fall 2016 and Spring 2017
This course asks: how does sex in theater and performance contribute to our understandings of identity, power, and the community? Focusing on how desire is manifested through text, the actor, and the audience, this class will engage in scholarship and plays that use camp, personal narratives, realism, and experimental techniques in order to engage its subject. Who is the play being written for? How does the style of play manipulate the audience’s reception of it? Is the playwright creating a community amongst the audience or ostracizing them? What methodologies is the playwright utilizing? How does the reader feel when they read the play? Why?
FACILITATOR OF RECORD, eCORNELL
Executive Presence: eCornell Certificate Program
Fall 2019, Winter 2020, Spring 2020, Summer 2020, Winter 2021, Fall 2022, Spring 2023
In this 15-week certificate program, students learn by doing to refine public speaking skills and build confidence in their own presence. Executive presence is a vital skill in business and life: being able to connect with other people and communicating genuine emotion, even in the most intimidating circumstances. Students go through each module, taking several videos of themselves which help them practice analyzing their performance, repeating, and refining their work in exercises and acting techniques specially designed by Cornell Theatre Professor David Feldshuh. The core skills, analytical tools, and training exercises presented in this program are intended to position students for a lifetime of development.
TEACHING ASSISTANT, CORNELL UNIVERSITY
FGSS 2010: Introduction to Feminist, Gender, and Sexuality Studies
Spring 2020
TA with Prof. Jane Juffer
Feminist, Gender, & Sexuality Studies is an interdisciplinary program focused on understanding the impact of gender and sexuality on the world around us and on the power hierarchies that structure it. This course provides an overview of key concepts, questions, and debates within feminist studies both locally and globally, focusing mainly on the experiences, historical conditions, and concerns of women as they are shaped by gender and sexuality. We will read a variety of texts--personal narratives, historical documents, and cultural criticism--across a range of disciplines, and will consider how larger structural systems of both privilege and oppression affect individuals' identities, experiences, and options. We will also examine forms of agency and action taken by women in the face of these larger systems.
PMA 3815: Acting in Public: Performance in Everyday Life
Spring 2019
TA with Prof. David Feldshuh
Telling jokes to a friend, making introductions, guiding meetings large and small, constructing and delivering business presentations, legal arguments or formal speeches are all examples of public performances. The purpose of this course is to increase the student's effectiveness in meeting the demands and enjoying the opportunities of public performance. What are the hallmarks of effective performance and how can you learn them? Employing techniques from actor/director training as well as dramatic writing, this course focuses the student on their own resources and self-imposed restrictions as a public speaker in everyday life. Subjects explored will include stage presence, audience connection, stage fright and mannerisms, speech making as storytelling, and gaining familiarity and finding comfort with one's own voice and gestures. Public speaking will be taught as a craft that can be learned through understanding and practice.
Summer College: Shakespeare on Stage
Summer 2018
TA with Prof. Bruce Levitt
In this program, students explore how clues to the acting and staging of Shakespeare's plays are embedded in the texts themselves. Understanding these hidden directions will deepen participant's understanding—and enjoyment—of these influential works of art. Along the way, students will develop and improve the critical thinking and writing skills essential for college success.
PMA 3757: American Drama and Theatre
Spring 2018
TA with Prof. Sara Warner
Explores major American playwrights from 1900 to 1960, introducing students to American theatre as a significant part of modern American cultural history. We will consider the ways in which theatre has contributed to the construction and deconstruction of a national identity. Similarly, we will examine the influence of the American Theatre on and in film. We will pay special attention to the social, political, and aesthetic contexts of the time period and discuss the shifting popularity of dramatic forms, including melodrama, realism, expressionism, absurdism, and the folk play, in the American theatre canon. Authors include O'Neill, Glaspell, Odets, Rice, Hellman, Hughes, Miller, Williams, and Albee, among others.
AMST 2010: American Studies Popular Culture 1900-1945
Fall 2015
TA with Prof. Glenn Altschuler
This course deals with American popular culture in the period between 1900 and the end of World War II. As we examine best-sellers, films, sports and television, radio, ads, newspapers, magazines, and music, the goal is to better understand popular culture as “contested terrain,” the place where social classes, racial and ethnic groups, women and men, the powerful and the less powerful, seek to “control” images and themes. Topics include the Western; Cultural Heroes and the Cult of Individualism in the 1920s; The Hays Code and the Black Sox scandal; Mae West and the “New Women”; Advertising in an Age of Consumption; Gangsters and G-Men; and Jackie Robinson and the American Dilemma.
AMST 2020: American Studies Popular Culture 1950-2000
Spring 2016
TA with Prof. Glenn Altschuler
This course treats the period from 1950 to 2000 as we examine best-sellers, films, sports and television, radio, ads, newspapers, magazines, and music. We try to better understand the ways in which popular culture shapes and/or reflects American values. The course also depicts popular culture as “contested terrain,” the place where social classes, racial and ethnic groups, women and men, the powerful and less powerful seek to “control” images and themes. Topics include The Honeymooners and 1950s television; soap operas; “gross-out” movies; Elvis; the Beatles, and Guns ‘n Roses; gothic romances; and People Magazine and USA Today.
PMA 3880: Fundamentals of Directing I
Fall 2016
TA with Prof. David Feldshuh
Focused, practical exercises teach the student fundamental staging techniques that bring written text to theatrical life. A core objective is to increase the student's awareness of why and how certain stage events communicate effectively to an audience. Each student directs a number of exercises as well as a short scene.
PMA 2800: Intro to Acting
Spring 2015
TA with Instructor Emily Ranii
An introduction to the actor's technique and performance skills, exploring the elements necessary to begin training as an actor, i.e., observation, concentration, and imagination. Focus is on physical and vocal exercises, improvisation, and text and character. There is required play reading, play attendance, and some scene study.