EDUCATION: MFA in Theatre Direction

MFA in Theatre Direction (International) 2012- 2015
East 15 Acting School (University of Essex), London UK

This is a  unique course designed specifically for students who already are or wish to  become professional theatre directors. It is one of the most established  directing courses in the U.K, with a mixture of workshops, projects and  dialogues with leading International and British directors and theatre practitioners.

cwStanislavskian Acting Methodology and Meyerhold Biometrics
The Russian Academy of Theatre Arts (G.I.T.I.S.), Moscow RU
Masters: Mikhail Chumachenko & Maria Shmaevich

GITIS is the longest established and most internationally renowned theatre school in the former Soviet Union. The institution has degree-awarding status and the special status of ‘Academy’ making it one of the highest possible establishments of learning in the country.

This module examines the main principles of Stanislavsky’s later acting and directing methodology.  It combines acting, directing and pedagogy techniques developed by Stanislavsky and his heirs such as Maria Knebles and Mikael Chekov including Active Analysis and the Etude rehearsal system. As well as Vsevolad Meyerhold and the development of the theory of biometrics – an important precursor of conceptual and physical modes of theatre.

10312621_10152085767897361_4849704138055424709_n-300x168Theatre of the East: Bali Module
The Indonesian Institute for the Arts, Denpasar & Bali Module for the World
Prof. I Nyoman Sedana, Ph.D.

The Bali module has been developed over many years as a product of the partnership between ISI Denpasar and East 15 Acting School, University of Essex, England. It was created by Professor Leon Rubin from East 15 and Professor Nyoman Sedana from ISI to introduce MA/MFA International Theatre Directing students from East 15 to the performing Arts and Culture of Bali. The module focusses on various genres and styles of performance with a strong emphasis on practical skills, giving additional importance to seminars and discussions about Balinese religious, philosophical and aesthetic traditions. The exchange included but is was limited to an intensive study of Topeng (the traditional Masked Dance Theatre), Wayang Kulit (Ancient Shadow Plays) and Barris and Legong (Dance).  The program concluded with a cross cultural collaboration with Balinese students from ISI in a final performance.

The Artistic Director Module
Anthony Clark

This module addresses itself specifically to students with a prior knowledge of directing and of the working of a theatre company.  It focuses on the specific problems of leading a company as Artistic Director.  Including budgeting, accounting and cash flow monitoring; the relationship between Chief Executive , Artistic Director, Administrator and Heads of Departments; Board of Directors; contracting, standard union contracts and others; artists’, technicians and support staff contracts; Devising and implementing policy; Season Planning; Marketing and publicity; Outreach and roles in the ecology; Relationships with Arts Councils and other funding bodies.

602648_10151370535930809_1540290606_nShakespeare Module
Anthony Clark

This module is designed to provide an introduction to the problems of directing Shakespeare and his contemporaries.  It develops specific textual skills and places the plays within the context of the Elizabethan world-view and its reflection in the playhouse.  It focuses on techniques designed to help actors with speaking verse and examines problems of staging, design and interpretation.

Techniques of Adaptation
Anthony Clark and Michael Fry

This module examines the problems of adapting non-dramatic texts for performance.  It takes as its starting point the pioneering work done by the Shared Experience company in the 1970s and looks at large-scale adaptations such as the RSC’s Nicholas Nickleby.

Physical Theatre Module
Robin Guiver (Warhorse) and Heriberto Montalban (LISPA)

This module addresses itself to the role of the director working with a physical theatre company.  Starting from the experience of companies such as Complicité and Trestle, it examines the specific problems of company dynamics and of style inherent in overtly physical forms of theatre.

Workshops and Lectures:

  • Devising with Shakespeare: Lucy Bailey (English National Opera, The Globe)
  • Working Classical Text with Actors: Michael Pennington (Royal Shakespeare Company)
  • Rehearsal Techniques: Mike Alfreds (Shared Experience)
  • Creating Verbatim Texts: Robin Soans (Talking to Terrorists)
  • Devising Theatre: Will Pinchin and Dorie Kinnear (Grafted Cede)
  • Creation and Devising: Allel Nedjari (Gecko Theatre, The Arab and the Jew)
  • Storytelling: Jennifer Pearcy-Edwards (Infectious Theatre)
  • Action Analysis (Russian Stanislavski System):David Jackson
  • In-Yer-Face and Contemporary British Theatre: Aleks Sierz (Rewriting the Nation, In-Yer-Face Theatre)
  • Artistic Directorship TYA: Tony Graham (Unicorn Theatre)
  • On Directing, John Caird (Les Miserables)


Circle In The Square Theatre School,  NYC, N.Y.
2 yr Diploma, 1 yr. Performance

The only accredited training conservatory associated with a Broadway theatre, Circle in the Square Theatre School’s primary objective is to train actors and singers for work in professional theatre, film and television with traditional and experimental approaches to dramatic presentation. The programs provide individual attention in small classes, with a faculty composed of the finest actors, directors and master teachers available in the New York theatre.

Voice & Speech: Andrea Haring
Dialects: K.C. Ligon
Dance: Nora Kasarda
Movement/Mask: Moni & Mina Yakim
Stage Combat: B.H. Barry
Shakespeare & Text Analysis: Ed Berkeley
Acting Technique & Scene Study: Allan Lagndon, Teresa Hayden & Jon Stix

Selected Workshops and Lectures:

  • Laura Linney (Three-time Academy Award nominee)
  • Kevin Kilner (Earth: Final Conflict)
  • Lana Wachowski and Andrew Paul "Andy" Wachowski (Bound, The Matrix)
  • Sir Anthony Sher (The Year of the King)



Shakespeare’s Globe: Directing Studio
Offered to just 12 professional directors, this was a series a series of masterclasses focused on approaches to preparing and rehearsing Shakespeare’s plays in the Globe Theatre.  Masterclasses included original practice; Shakespeare’s text and an actor’s voice; use of actor’s body on a bare stage.

The Young Vic Genesis Director's Network:
The Young Vic has been running the Directors Program for over ten years, offering directors a unique opportunity to exchange experiences with peers and be part of a network of talented directors, producers and designers working and living in the UK.  As the only scheme of its kind, the Directors program provides proactive support for professional directors offering a range of opportunities to help directors develop their craft. These opportunities and activities include skills workshops, peer-led projects and paid assistant directing roles.

Workshops and Masterclasses include:

  • Acting Through Song workshop
  • International Exchange: Grzegorz Jaryna‏
  • Creating International Collaboration
  • International Theatre Practice: Germany
  • Dramaturgical Practice in the UK
  • Advanced Shakespeare

Artistic Director Residencies 2011/ 2012:
Three Provinces, Three Mandates, Three Companies
The 2011/ 2012 season was dedicated to developing a working understanding of the diverse artistic and administrative theatre production, presentation and development practices of Canadian Theatre.  Each company presented a different form Canadian Theatre production. The residencies included New Play Development, Production and curation of a National Festival, meeting with Artists, PACT Meetings, Season Budgeting and Programming, Grant Writing and Fundraising, Board Development and Management.

  • Playwrights’ Workshop Montreal, Emma Tibaldo (Montreal,Quebec)
  • Theatre Conspiracy, Tim Carlson (Vancouver, British Columbia)
  • The Magnetic North Theatre Festival, Brenda Leadlay (Ottawa, Ontario & Calgary, Alberta)

Canadian Opera Company, Auditing Director 2011 (Toronto, Ontario)
The Magic Flute and Nixon in China

Two months were spent auditing Canadian Opera Company rehearsal process for two operas from first rehearsal through to performance.  This included chorus work, choreography, run through, the move to the venue and tech.  The conductors were Johannes Debus and Pablo Heras-Casado and directors Diane Paulus and James Robinson.

Director’s Lab North 2011 (Toronto, Ontario)
Over 20 directors from across the country and the world, ranging from emerging to established gathered for a 3 day intensive at Tarragon Theatre.  Panels and master classes included Daniel Brooks, Judith Thompson, Nina Lee Aquino, Andrea Romaldi and Anne Cattaneo, Soheil Parsa, Michael Wheeler, Micheline Chevrier, Linda Griffiths and Richard Rose and Shared Sessions on viewpoints, heightened text,  American classics, creation and multi media.

Emerging Director Residency 2010, Canadian Stage (Toronto, Ontario)
BASH! is Canadian Stage’s program for professional directors to explore  approaches to contemporary performance practice, production and administration. The 2010  focus was on directing large-scale works.

The Centaur Theatre, Artist in Residence 2009 (Montreal, Quebec)
Two months were spent with Executive Artistic Director Roy Surette and General Manager  Chuck Childs researching the roles and responsibilities of the AD and administrative team of large regional theatre.  This included new works workshops such as Schwartz’s The Musical and the development of new work, the management, structure and roles of the organisation and its staff, and the role of the company in the greater ecology.

Neil Munro Directors’ Project 2009, The Shaw Festival (Niagara on the Lake, Ontario)
Each season, the Shaw Festival hires two promising professional directors in an extended residency.  During my time at the Shaw Festival, I was assistant director on Eda Holmes’ In Good King George’s Golden Days, Tadeusz Bradecki’s  The Devil Disciple and Jackie Maxwell’s workshop of The Canterville Ghost.  Additionally, I lead Audience pre-show chats, took part in Shaw Academy and ran an informal reading series with company members.   The residency  finalized by directing The Love of Don Perlimplin.

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