SHEILA GORDON
Associate Professor of Theatre
Specializing in Acting and Voice
Area Coordinator, Department of Theatre
curriculum vitae
(512) 492-3158
Address:
St. Edward’s University
Department of Theatre
3001 S. Congress Avenue
Austin, TX 78704
Email:
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OVERVIEW:Teach all levels of Acting and Voice, resident dialect and vocal coach for the Mary Moody Northen Theatre. Co-creator of interdisciplinary study abroad program in Edinburgh, Scotland. Member of VASTA, AEA and SAG-AFTRA. Writer, performer and producer ofmultiple-character, original solo works that have appeared in both Edinburgh Fringe and Los Angeles Fringe Theatre Festivals. Areas of research: investigation of somatic movement techniques with voice production and acting.
EDUCATION:MFA - Acting, Carnegie Mellon University - 1998
BFA - Acting, New York University – 1982
Advanced/Professional Acting Training: Lee Strasberg, Stella Adler,
Mark Monroe, Elaine Aiken, Michael Howard, David Garfield,
Terry Schreiber, Beatrice Straight, Sergey Ostrenko
Advanced/Professional Voice Training: Patsy Rodenburg (Shakespeare)
Richard Armstrong (ensemble improvisation), Raphael Kelly (Shakespeare)
Frankie Armstrong (Acting and Singing with Archetypes)
Advanced/Professional Movement Training:
- Certified Feldenkrais and Anat Baniel Method Teacher. Anat Baniel,
Marci Lindheimer (4 year training program)
- Certified Pilates Trainer. Teachers: Coleen Glenn, Jennifer Stacey, Carol Appel,
Wendy LeBlanc Arbuckle, Ron Fletcher (2 year training program)
- Alexander Technique: Gwen Ellison, Patrick MacDonald (3 years cumulative)
TEACHING EXPERIENCE – Positions Held
St. Edward’s University, Department of Theatre Arts
Associate Professor, Acting and Voice. 2007-Present.
Chair, Department of Performing Arts. 2013-Present.
- THAR 1311 Acting for Non-majors: An introduction to acting for non-majors. Techniques taught seek to help students with understanding the basic concepts of centering, concentration and imagination as applied to scene work.
- THAR 1351 Performance (Acting) 1A: Introductory acting course for all theatre majors. Introduction to ensemble work and basic performance of a monologue.
- THAR 1352 Performance 1B: A continuation of the process begun in Performance 1A, emphasizing practice and discipline through rehearsals and performance of scenes and monologues.
- THAR 3336 Topics: Awareness, Body and Breath: Feldenkrais and Pilates. A course that investigates two physical-mind modalities to improve breathing, posture, concentration, energy and flexibility.
- THAR 3336 Topics: Voicever Acting.
- THAR 3307 Voice I: An introductory course in the use of Feldenkrais movement techniques for integrated breathing, introduction to articulation improvement and basic textual applications.
- THAR 3308 Voice II: This course introduces more challenging techniques, helping the actor to build stamina and dynamic for the demands of heightened language, such as Shakespeare.
- THAR 3330 Performance II: Students are presented with techniques necessary for the development of a character and the creation of a performance based on a painting.
- THAR 3338 Performance III (Period Styles): Provides study in the acting styles necessary for the plays of Ancient Greece, Elizabethan England and Louis XIV’s France. Representative playwrights studied include Aeschylus, Euripides, Sophocles, Shakespeare and Moliere.
- THAR 4341 Performance IV: This course requires development of a solo performance and in-depth scene study with professional level expectations.
- THAR 4318 Voice III: Dialects: Students are taught techniques to help them acquire accents and dialects for specific roles that require them.
- CULF 1319/THAR 3336 Global Theatre Making: The Edinburgh Fringe Festival: Study abroad course in Edinburgh, Scotland. A course that focuses on the nature of theatre making at the international Edinburgh Festival Fringe – the largest performing arts festival in the world.
- CULF 1319/THAR 3336 The Archetype in Performance: Study abroad course in Edinburgh, Scotland. This course explores the various archetypal characters that exist in folklore and the human psyche and how they are reincarnated through storytelling and performance.
- CULF 3331: Contemporary World Issues/The Living Dialects of London: Study abroad course in London, England focusing on language and identity amidst the changing demographics of contemporary London. Students received a full-day training through “Eastside Community Heritage” in how to conduct oral histories. For final projects, students visited the Polish Community Center and London’s Spitalfield’s Markets, where students interviewed people regarding language and identity.
Missouri State University,Department of Theatre and Dance.
Assistant Professor, Acting and Voice. 2002-2007.
- Voice and Movement I: Basic introduction to coordinating organic connection to breath, sound and movement through several approaches: Chi Gong, Pilates and Michael Chekhov.
- Voice and Movement II: Dynamic ensemble movement techniques of Roy Hart and Sergey Ostrenko as applied to Aeschylus. Continuation of building organic connection to breath, voice and movement based in Feldenkrais.
- Advanced Voice for the Stage: Introduction to Shakespearean verse.
- Movement for Actors: Integration of Michael Chekhov, Meyerhold and Ostrenko.
- Acting I: Designed and taught course for BFA majors. Concentration, relaxation, sensory work, Meisner work and approach to monologues and scenes.
- Acting Fundamentals: Designed and taught course designed for non-BFA majors, which introduces students to the basic elements of concentration, relaxation and the creative state of mind for the actor.
- Acting IV: Designed and taught final course in acting sequence for BFA majors, which focused on deepening actor’s emotional connection to scene work.
- The Acting Process: Graduate Seminar: A course examining theoretical and practical applications of Stanislavskian acting approaches and influences throughout the twentieth and twenty-first centuries.
- Script Analysis: Introduction to Stanislavsky Action Analysis. Understanding a written script through the identification of events, actions, character using improvisation and etudes.
Two Chairs Studio, Austin, Texas. Instructor of Actor Movement. 2000 through 2002
Taught Michael Chekhov Technique to students studying the Sanford Meisner Technique with Ron Hayden.
The Actors’ Place, Austin, Texas. Owner/Proprietor/Teacher. 1996, 1998-2001
Taught group classes and individuals in Beginning, Intermediate and Professional level technique and scene study. Developing one-person shows for Actors Who Write program.
The University of Texas at Austin, Dept. of Theatre and Dance. Guest Lecturer1995-96, 1998.
- Movement for Actors: Psycho-physical approaches to acting and character work. Introduced Feldenkrais, Michael Chekhov and Strasberg repertoire to Junior BFA class preparing Shaw and Shakespearean roles.
- Movement and Physical Conditioning Lab: Alignment, balance, breath control, musculo-skeletal awareness, strength training and neuro-muscular repatterning for actors and dancers using Pilates.
The Pilates Center of Austin, Austin,Texas. Pilates Trainer. 1994-1995
Instructed individuals and small group classes in Pilates Technique. Assessed movement and breathing habits/capabilities of clientele (age range 10 to 70) and designed re-patterning exercise programs accordingly.
The Drama Studio, Berkeley,California. Acting Teacher. 1990
Trained young actors in preparation for ensemble acting work. Taught modified Method, Chekhov and Sulerzhitsky.
Workshops/Lectures
Approaching Dialects for Film and Television, 2014. Workshop for professional actors through the SAG/AFTRA Conservatory. Austin, TX.
Feldenkrais for Dancers, Missouri State University, November 2005. Guest Lectured and taught Feldenkrais movement approach to dance majors in Theatre and Dance Department.
Development of Modern Theatre. Missouri State University, October, 2004. GuestLectured and demonstrated Russian Constructivist Styles in Actor Training.
Physical Approaches to Shakespeare. Missouri State University. June, 2003. Six-hour workshop for production of Comedie of Errors.
Meyerhold and Biomechanics. Missouri State University, November, 2002.Designed and taught lecture/workshop in the actor training methods of Russian Constructivist theatre director, Vsevolod Meyerhold.
Acting: Dell’Arte School of Physical Theatre. Blue Lake, California, February, 1993
Taught workshops on Meyerhold’s Biomechanics and Michael Chekhov technique. Application of psychophysical movement to develop characterization.
Voice: University of California, Berkeley, November, 1991
Lecture and Demonstration on the principals of Alexander Technique applied to vocal training for actors. Trained second year graduate students in breath work and voice production.
Movement: University of Minnesota, Minneapolis, December, 1990
Trained BFA Theatre students in Biomechanical etudes. Assistant directed scene from “Waiting for Godot” for performance at The Minneapolis Museum of Fine Art.
Acting: Gitis Institute, Moscow, Russia, March, 1989
Co-instructed three separate workshops in Michael Chekhov technique with original students of Michael Chekhov, Beatrice Straight and Felicity Mason.
Movement: Yale University, New Haven, Connecticut, October, 1987
Co-instructed workshop in Biomechanics for Freshman and Sophomore BFA students. Basics in incorporating rhythm for ensemble stage awareness and composition. Lessons culminated in performance.
PROFESSIONAL THEATRE, FILM AND TELEVISION
THEATRE
MisallianceMrs. Tarleton Mary Moody Northen
Lie of the MindLorraine Mary Moody Northen
Peer GyntAsa Mary Moody Northen
WitVivianVandivort Ctr Theatre
Crimes of the HeartMegVandivort Ctr Theatre
A Tale of Two CitiesMiriam, CharactersThe Public Theatre, NY
Midsummer Night’s DreamTitaniaMoscow Art Theatre Studio
Three SistersOlgaMoscow Art Theatre Studio
Uncle VanyaYelenaMoscow Art Theatre StudioTriumph of Love Leontine Mary Moody Northen
The DivinersGoldie Mary Moody Northen
Broken GlassHarrietCapitol City Playhouse
RepetitionsKatelynCapitol City Playhouse
Girl GoneCarlaHyde Park Theatre
Blithe SpiritRuthBroadway Studio Theatre
Original Works,Solo Performance, Writing
One Venus HourFrontera Long Fringe Festival
Folding House Edinburgh Fringe Festival
Frontera Short Fringe Festival
In Our ChargeCultural Ctr., Malpils, Latvia
Bone HungryThe Ravello (L.A.)
Sex, Killing and the ShoppingL.A. Open Theatre Fest
Edinburgh Fringe Fest
Life on the Water (S.F.)
FILM & TELEVISION
Passing ThroughMoxie (Supporting) Independent Short
I, OctavioLydia (Lead) Independent Short
Boys Don’t CryTina Brandon’s MomKimberly Pierce, dir.
Walker, Texas RangerJ.D. Dixon (Supp)CBS Episodic
Two Mothers for ZacharyProcess Server (Princ)ABC Movie of the Week
Ruta WakeningNexIndependent Feature
At RiskTrashVisualiner Productions
Desperately Ever AfterCynthia (Lead)Clear As Moon Prods.
Moving OnMother (Lead)Independent Short
“N.B.”Guest ArtistBBC
COMMERCIALS, INDUSTRIALS & VOICE OVERS
Touch Promotional VideoNarrator JWT Productions
Poetry AnthologyNarratorMacGraw-Hill
Wishbone CD ROMCirceHuman Code
Katz’ DeliPrincipalLee Tilford Agency
Planet ExplorerPrincipalHuman Code
CybermagePrincipalOrigin Systems
Crusader No RemorseSupportingOrigin Systems
SkytelPrincipalOgilvy & Mather
PRODUCTIONS – Voice and Dialect Coach, Directing, Movement
My All AmericanDialect Coach Feature Film, Angelo Pizzo, Director2014
HysteriaDialect Coach Universal Television Pilot2014
TartuffeVocal CoachMary Moody Northen Theatre, Austin, TX 2014
Deliverance CreekDialect CoachLifetime Television Pilot2013
The Secret GardenDialect CoachMary Moody Northen Theatre, Austin, TX 2013
The Importance of Being EarnestDialect CoachMary Moody Northen Theatre, Austin, TX 2013
Measure for MeasureVocal CoachMary Moody Northen Theatre, Austin, TX 2013
Secret Lives of WivesDialect Coach Lifetime Television Pilot2012
Bus StopVocal CoachMary Moody Northen Theatre, Austin, TX 2012
The CrucibleVocal CoachMary Moody Northen Theatre, Austin, TX 2012
Who’s Afraid of Virginia Woolf?Vocal CoachMary Moody Northen Theatre, Austin, TX 2010
The Imaginary Invalid Vocal CoachMary Moody Northen Theatre, Austin, TX 2010
The Life of Galileo Vocal CoachMary Moody Northen Theatre, Austin, TX 2009
Cyrano de BergeracVocal CoachMary Moody Northen Theatre, Austin, TX 2009
Three Sisters Director Mary Moody Northen Theatre, Austin, TX 2008
Cloud Nine Dialect CoachMary Moody Northen Theatre, Austin, TX 2008
Death and the King’s Horseman Dialect Coach Mary Moody Northen Theatre. Austin, TX 2008
Full Circle, Vocal CoachMary Moody Northen Theatre, Austin, TX 2008
Ring Round the Moon Vocal Coach Mary Moody Northen Theatre. Austin, TX 2007
Blithe Spirit Dialect CoachTent Theatre, Springfield, Missouri 2007
Call Me Mehdi, DirectorMSU Public Affairs Conference2007
Ambition Facing West, Director. Balcony Theatre, MSU 2006
The EumenidesDirectorBalcony Theatre, MSU2004
The Merchant of Venice,Vocal Coach Coger Theatre, MSU 2005
West Side StoryDialect Coach Coger Theatre, MSU 2003
TranslationsDialect CoachCoger Theatre, MSU 2002
Seeing the Voice,Co-Producer. Film, Missouri State University. Documentary film highlighting interdisciplinary teaching/learning project between theatre students and vocal sciences students. 2005
In Our Charge, Actor/Writer/Presenter. International Festival of Theatre Methods, Malpils, Latvia. Performance of originally scripted roles and adapted Shakespearean characters exploring the theme of imprisonment. 2004
The Triumph of Love, Director/Movement Director. Walnut Street Studio performance project using Meyerhold’s Biomechanics and neutral mask. 2003
In the Blink of an Eye, Video. Director, Script Consultant. Missouri State University. Fictional narrative on teenage soccer player who suffers from spinal chord injury. 2003
Night in the Old Market. Movement Director. Zellerbach Theatre, UC Berkeley. 1992
Mastfor Caberet: An Evening of Russian Constructivist Performance. Co-Director.The Palace of Legion of Honor. 1991
The Death of Tarelkin. Movement Coach.The Graduate Center, New York, New York. 1987
D.E. (The Destruction of Europe). Movement Coach. Theatre Am Turm, Frankfurt, Germany; Kunsthaller, Zurich, Switzerland. 1986
Good Treatment for Horses,(Play), Iron Foundry at Midnight (Dance). Movement Coach. The Kitchen, Theatre 8-BC. New York, New York. 1984
The Magnanimous Cuckhold. Movement Trainer. The Guggenheim Museum, New York, New York
Museum of Modern Art, Houston, Texas. 1981
PUBLICATIONS
The Moving Voice: The Integration of Voice and Movement Studies (Voice and Speech Review)Co-Associate Editor. Internationally distributed serial monograph. Published by VASTA. Cook, R. Editor. 2009
“An investigation of the effects of Feldenkrais-based sensory movement techniques on breathing for voice production for the stage.” Co-author. S. Gordon, L.R. Goldberg, J.A. Rockwell, & R. Netsell.The Voice and Speech Review. 2007
“Understanding the Voice: the value of interdisciplinary collaboration,” The Voice and Speech Review. Goldberg, L.R., Gordon, S., Dion, N.M., & Hellmann, C.A. In M. Rees (Ed.), The Voice and Speech Review. Published by VASTA. Rees, M. Editor. 2005
“Pushkin’s Admirer,” Moon City Review. Author.Article published in Missouri State University literary magazine regarding perceptions of an American actor’s life in Moscow, Russia. 2004
CONFERENCE PRESENTATIONS
“I Think I Understand You: Voice, Identity and Aging”(Advocating for engagement, listening and understanding). Presenter. Voice and Speech Trainers Association Conference. London, UK. August, 2014
"Expanding the Vocal Palette Using Cross Cultural Archetype Explorations."Co-presenter. Voice and Speech Trainers Association Conference. Featured presentation. London, UK. August, 2014
"Feldenkrais Awareness Through Movement and Voice." Presenter. Voice and Speech Trainers Association Conference. Minneapolis, MN. July 2013
“Chekhov Technique: Incorporating Image and Shapefor Vocal Transformation.” Presenter. Southeastern Theatre Conference. Louisville, KY. March 2013
“Voiceovers: A New Avenue for Theatre Majors.” Presenter. Educational workshop presented at the Texas Educational Theatre Association Festival. Houston, TX. January 2012
“The Tactile Speech: A Journey in Discovering Dynamic Connection.” Presenter. Peer-reviewed workshop presented to the annual Voice and Speech Trainers Association Conference. Chicago, IL. August 2011
“Opening the Body of Voice through Feldenkrais. Presenter. Southeastern Theatre Conference, Atlanta, GA. March 2011
“How to Perform your Solo Show at a Theatre Festival.” Co-Presenter with Allison Hetzel, and Christopher Montpetit (University of Alabama). A collaborative presentation on writing, producing, performing and marketing original solo performance at international festivals. Southeastern Theatre Conference. Atlanta, GA. March 2011
Feldenkrais and Voice: the anti-force factor.”Presenter. Southeastern Theatre Conference, Louisville, KY. Workshop presentation to voice professionals and academics in the ongoing research and integration of integration of movement studies with vocal production. March 2010
“The Tactile Voice: Shaping Vocal Performance.” Presenter. The British Voice Association Conference, “The Choice for Voice.”London. July 2008
“Vocal Shaping: The Epic World of Touching Speech.” Presenter. Hawaii International Conference on Arts and Humanities. HI. January 2008
“Chi Gong: Basis for Voice and Movement.”Presenter. Texas Educational Theatre Conference. 2008
“Seeing the Voice.” Presenter. VASTA Annual National Conference. Chicago, IL. Presentation and discussion of original documentary film depicting interdisciplinary study of artistic and clinical approaches to voice production and somatic movement. August, 2006
“Transformational Movement and Contemplation: The Body and Your Voice.”International Festival of Theatre Methods 06: Between Tradition & Contemporaneity.Kiev, Ukraine. Presenter. Three-day workshop for international body of professional actors, dancers and directors on the use of Feldenkrais movement techniques for voice production. May, 2006
“Current Trends in Stage Movement.” Presenter. Speech and Theatre Association of Missouri. Workshop in the ensemble movement techniques of Russian choreographer and director Sergey Ostrenko. 2005
In Our Charge: Forum. Presenter. International Festival of Theatre Methods, Malpils, Latvia. Discussion of animal based movement and voice techniques used in performance of solo piece. 2004
“Strasberg Sense Memory through Animal Observation as Applied to Shakespeare.” Presenter. International Festival of Theatre Methods,Malpils, Latvia. A three-part workshop in transformational character movement based in psychophysical effects of animal imagery. 2003
“Delsartian Influences in Meyerhold’s Biomechanics.” Co-presenter.International Conference on Francois Delsarte. Rimini, Italy. 1992
“American Theatre Practitioners and Biomechanics.” Co-presenter. International Symposium on Meyerhold. Penza, Russia. 1989
“Psychophysical Acting Techniques of Three Soviet Directors.” Co-presenter. ConferenceLe Siecle Stanislavsky, Pompidou Centre, Paris, France. Three workshops in Michael Chekhov Technique, Meyerhold’s Biomechanics and Tea-Phys Trenage. 1988
PROFESSIONAL DEVELOPMENT
Eastside Community Heritage: Oral History Training.
Full day, hands-on training in how to collect oral histories. Workshop was given byaward-winning,
East London community organization that isdedicated to preserving history through oral traditions. July, 2014
Anat Baniel/Feldenkrais Workshop.
Day long workshop on somatic movement techniques of the Anat Baniel Method