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My teaching expertise cuts across Meisner, Physical & Expressive Integration, the Psycho/Physical interplay in creating character, Acting for Camera, and Professional Preparation. For over 15 years, I've applied these professionally on screen and stage, and in class, teaching all levels of performance studios for MFA, BFA, and BA programs.

I have a background of deliberate synergy between psycho/emotive and physical techniques, which has created a unique approach to the process of creating meaning, action, and character development. Neither a movement specialist who occasionally acts, nor an actor with helpful movement tools, my work is a union of extensive trans-disciplinary exploration and the professional practice in both.


MFA Acting - University of Nevada, Las Vegas

MA Classical Acting for the Professional Theatre - London Academy of Music and Dramatic Art

MA Theatre - Oklahoma State University



I have a long and successful history of teaching all levels of acting - ranging from Non-Major fundamentals, to advanced studios in Classical and Contemporary texts, and Acting for Camera.

However, it is my work with the Meisner technique which has been the hallmark of my teaching. Meisner is a powerful tool in developing students’ adaptability, focus and use of imagination, cultivating inter-reliance and connections with their partners, and creating sensitivity to the primacy of what I consider to be the prime-mover in the acting process:   Point-of-View.

Beyond this I've I developed specialized professional preparation classes including, The Business of Acting — focused on readying students for the transition into the profession and improving professional outcomes.


The physical life of the actor is not just the medium of their work, but also the interpreter of all stimuli and information they receive as well as their pathway to self-care. The actor's body must be free, flexible and strong – in a state of readiness, that builds on the most healthy, effective use of themselves to compose any action, character, or point-of-view.


Movement training should create intersections between breath, body and voice, allowing students to experience acting holistically. It should teach self-use and provide avenues which shape sound, thought, and non-verbal meaning efficiently and clearly.


Master Teacher - Lugering’s Expressive Actor

Senior Fight Instructor - Dueling Arts International

Recognized Fight Director - Dueling Arts International

RYT200 Hatha & Vinyasa Yoga Teacher - Yoga Alliance

Certified Teacher Candidate - National Michael Chekhov Assoc.

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