Kentucky Theatre Association (KTA)

Curriculum Vitae

Peter Allen Stone www.peterallenstone.com

Education

AMERICAN CONSERVATORY THEATER-SAN FRANCISCO, CALIFORNIA Masters of Fine Arts Major: Acting

CALIFORNIA STATE UNIVERSITY LONG BEACH, CALIFORNIA Bachelor of Arts Major: Theatre Emphasis: Acting Performance

Pedagogical Overview

Constantine Stanislavski

-Identifying Textual Beats to increase a variety of actions, tempo, rhythm, and comprehension -Actions -Objective -Obstacles -Given Circumstances -Scoring a Text -Sub-text -Personalization -Playing Opposites and finding Humor

Sanford Meisner

-Word Repetition -Emotional Preparation -Moment-to-Moment -Activity Exercise -Playing off of your partner -Improvisation

Uta Hagen

-Six Questions: 1. Who am I? Age, religion, social status, relationship status, politics 2. Given Circumstances? Facts from the script, location, time, moment before 3. Relationships? To the environment, my character, and the other characters 4. Objective? What does my character want from the other character 5. Obstacles? Personal, environmental, or presented by the other character 6. Actions? Verbs. What do I do to get what I want? How do I want to make the other character feel?

Larry Moss

-Imaginative Exercises to increase personalization and specificity -Emotional Preparation Exercises -Imagery and bringing the text to life

Current Academic Appointment

New York Film Academy, New York City Chair of Acting for Film 2017-Present

Duties include: -Overseeing a year round department with Long Term and Short Term Acting Programs -Approximately 400 students per year -Managing an office staff and approximately 50 acting instructors -Hiring a rotating roster of acting instructors -Creating curriculum for multiple subjects in acting -Creating rubrics for every acting class taught in the program -Evaluation acting instructors in writing throughout the year for the school and the state of New York -Writing performance reviews of each faculty member -Presenting student orientations -Speaking at all graduations -Interviewing high profile or celebrities from the industry -Handling student disciplinary situations -Serving on numerous committees throughout the year

Previous Academic Appointments

New York Film Academy, New York City Associate Chair of Acting for Film 2016-2017

University of Kentucky Department of Theatre and Dance January 2013-May 2015 Visiting Assistant Professor of Acting (full load/directing one production) for the B.A. Theatre Program *During my three years at the University of Kentucky, I was the lead Professor of Acting for all undergraduates. Along with the Department Chair, Nancy C. Jones, I was instrumental in the recruitment of majors and minors for the department. During my tenure, I saw the Department of Theatre and Dance grow from thirty-three majors to ninety-seven majors.

Courses Taught: Movement for the Actor, Acting for Film, Comedy Styles/Improvisation, Classical Styles/Shakespeare, Acting Technique, Audition Technique, and Advanced Scene Study for Majors. Created all original curriculum.

Selected Courses University of Kentucky Department of Theatre and Dance

Fundamentals of Acting TA 126 A broad spectrum of skills were explored in the creative process of the acting ensemble. These skills included improvisation, movement disciplines (including theatre games and characterization), vocal technique, emotional and sensory awareness, and the process of integrating these into a clearly defined stage technique. The Stanislavski System was the primary focus in this class. Students were required to perform multiple short scenes while creating a truthful moment before, a contemporary monologue, and final contemporary scene. Upon successful completion of the course students had a firm grasp of Uta Hagen’s Six Questions, identifying textual beats, fighting for an objective, playing opposites, and finding humor in the scene. The Mid-Term Assignment was the performance of a contemporary monologue for the faculty and invited guests. The Final Assignment was a fully rehearsed contemporary scene presentation (5-7min.) performed with props, costumes, minimal lights/sound in the Briggs Theatre for the faculty and invited guests. (20 students) 5.5 hours per week

Scene Study TA 237 TA 237 is the core Scene Study class for all Theatre Majors in the Department of Theatre and Dance. This class primarily focused on the Stanislavski System while borrowing exercises from Uta Hagen and Sanford Meisner. Each student was required to perform three contemporary fully rehearsed scenes with a partner. The third and final scene (7-10 min.) was presented in the Briggs Theatre for the entire faculty and invited guests with props, costumes, minimal lights and sound. Upon successful completion of this course each student left emotionally available and with a solid technique to rely on during the course of their career. Students have often said, “Now I know how to approach a scene on my own and succeed in the future. I have tools!” (20 students) 5.5 hours per week TEXT: A Challenge for the Actor by Uta Hagen; TIPS by Jon Jory

Movement for the Actor TA 300 This was an Advanced Movement class with its main focus being Viewpoints with some attention to the Leqoc Method. The overall goal was to get actors to respond in the moment while listening internally and externally and functioning as an ensemble. All exercises were designed to get students to understand the importance of their physical relationship to: Kinesthetic Response, Tempo, Duration, Repetition, Shape, Gesture, Architecture of the space, and Spatial Relationships. In addition to Viewpoints, students explored approaching characters from the “outside-in” while performing a monologue and using the four major elements as their guide: Air, Water, Tree, and Fire. Based on weeks of composition work, the culminating event was a performance of a deconstruction of Spring’s Awakening. (20 students) 3 hours per week

Advanced Scene Study TA 326 This class was designed for the experienced actor. It focused on Modern Drama Acting starting with the “Father of Modern Drama” Henrik Ibsen, and the importance of historical research for the actor. I divided the class into three different time periods: 1870-1910, 1920-1940, and 1940-1960. Each student was required to research the time period in which they were working, the life of the playwright they were performing, and the production history of their specific play. Scene partners then led a discussion and shared their research with the entire class. Every actor performed a total of four scenes in rehearsal costumes (corsets/jackets/etc..) that were appropriate for the era with at least one scene being from each designated time period. The culminating event was an evening performance for the faculty and invited guests with each student performing in a minimum of two scenes. Playwrights whose work was brought to life included: Ibsen, Chekov, Strindberg, Odets, Kauffman and Hart, Kauffman and Ferber, O’Neill, Lillian Hellman, Miller, Williams, Robert Anderson, and Richard Nash. (10 students) 5.5 hours per week TEXT: The Intent to Live by Larry Moss

Shakespeare TA 336 This class was designed for the intermediate actor to gain confidence in performing Shakespeare. Special attention was paid to developing each actor’s voice to keep up with the demands that acting Shakespeare requires. Speech and verbal action skills, and rhetorical devices were fully explored. Techniques that were put into practice every class included: Vocal Energy, Breath Support, Scansion, Operative Words, Antithesis, Alliteration, Assonance, Imagery, Punctuation clues based on the text of the First Folio, Playing Prose, and Verse Speaking. Each student performed in class a prose monologue, verse monologue, and scene. The class culminated with a one hour and ten minute performance of Julius Caesar while exercising the techniques that were ingrained in class. (16 students) 5.5 hours per week. TEXT: Shakespeare’s Advice to the Players by Sir Peter Hall

Acting for the Camera TA 300 This class was specifically orchestrated to help the theatre actor make a successful transition to acting in film. The technical demands of acting in the theatre and on camera are very different and insist on a different set of skills. Each student is put on camera every week with a specific exercise to address the necessary skills needed for acting in film and critiqued during a playback session. It is this objective learning that really helps the actor move forward with their craft. Original exercises address the following acting on film techniques: hitting your mark, physical continuity, overlapping dialogue, acting in a two shot, acting in a close-up, playing for your audience, handling props, and giving the editor clean cutting points. Upon successful completion of the course all actors left with a flash drive containing a professionally shot monologue and two edited scenes appropriate for their marketing reel. (14 students) 4 hours per week

* Recruiter at SETC for prospective students.

New York Film Academy, New York City August 2008-2013 (20 hours per week) Full-Time Acting Faculty for the B.F.A. and M.F.A. Programs

Courses Taught: Acting Technique (Stanislavski, Uta Hagen, Meisner), Scene Study, Voice (Linklater, Middendorf Breath Method), Speech and Articulation (Edith Skinner/International Phonetic Alaphabet), Movement (Viewpoints, Leqoc, Elemental Work, Neutral Mask, Clown, Yoga 13 yrs.) Audition Technique/Business of Acting (Stage and On-Camera), Text Analysis, Shakespeare, Chekhov, Monologues, Improvisation, and Performance Analysis (An in depth analysis of the evolution of performance on film from the 1930’s-Present)

*Developed original curriculum and participated in an advisory panel for student placement. Expertise: Movement and Ensemble Play Creation

Previous International Appointments

New York Film Academy - Florence, Italy Summer Appointment; 2010-Present Co-head of Acting for Adult and Teen Programs

Courses Taught: Acting for Film, Acting Technique, Monologues, Scene Study, Improvisation, Voice, Movement, and Directed Final Film Scenes (DVD Available upon request)

New York Film Academy - Mumbai, India May 2017 Headed the Acting for Film program and launched the new campus in Mumbai, India Courses Taught: Acting for Film, Audition Technique, Business Skills, and Acting Technique

Universität Heidelberg - Heidelberg, Germany Guest Lecturer Fall 2015 Course: New York City’s Cultural Landscape Through Filmmaking: GRG/AMS Professor: Dr. Robert Lemon I presented a lecture with discussion and questions about the films Taxi Driver and Midnight Cowboy. The presentation was focused on New York City as a cultural landscape in the 1970’s and how actors prepare to play a character.

Dongguk University - Seoul, South Korea Guest Instructor April 2014

Inha University - Seoul, South Korea Guest Instructor April 2014

Dwight School of Seoul - Seoul, Korea April 2014 Guest Instructor

School of Performing Arts - Seoul, Korea Guest Instructor April 2014

*Courses Taught: Multiple workshops in Acting for Film. Theatre, and the Meisner Technique.

Professional Actor Unions

Actors Equity Association Screen Actors Guild-American Federation of Television and Radio Artists

Directing for the Theatre

Dancing at Lughnasa by Brian Friel Guignol Stage, University of Kentucky

Eurydice by Sara Ruhl Guignol Stage, University of Kentucky

Waiting for Lefty by Clifford Odets Black Box Theatre, University of Kentucky

A Night of Debauchery (Series of one-acts) Black Box Theatre, University of Kentucky

Jerry Springer is God by Matt Pelfrey Player’s Club, New York, New York

Paper Thin by Lindsay Price Player’s Club, New York, New York Fight Choreography

Compatible by Anna Li Player’s Club, New York, New York

Pillow Talk by John Pielmeier Player’s Club, New York, New York Fight Choreography

Quitting Time by Julia Blauvelt Producer’s Club, New York, New York

*Directed numerous hour long Final Scene Study Presentations (DVD available upon request)

Playwriting

The Secret Court (Co-Author/Formerly Unnatural Acts) Directed and Conceived by Tony Speciale *The play is slated for a commercial run in NYC 2016

In the spring of 1920, a student's suicide sparked a campus-wide investigation by a panel of administrators who took it upon themselves to "investigate, expose and ultimately expel a group of homosexual students." The play is based on 450 pages of the original archival material of the investigations that took place at Harvard University in May of 1920. www.thesecretcourt.com http://www.broadwayworld.com/off-broadway/article/Classic-Stage-Company-to-Host- Staged-Reading-of-THE-SECRET-COURT-Benefiting-The-Trevor-Project-20150309#

Unnatural Acts-Harvard’s Secret Court of 1920 (Co-Author) Directed by Tony Speciale Classic Stage Company, New York, New York (Premiered June 11, 2011 and ran for seven sold-out weeks) www.unnaturalactstheplay.com

Chez Moi (co-creator) Directed by Leslie Felbain New York International Fringe Festival (July 2005)

Playwriting Awards

2012 Drama Desk Award Nomination for Outstanding Play- Unnatural Acts 2012 Lucille Lortel Nomination- Unnatural Acts 2012 G.L.A.A.D. Media Award- Unnatural Acts Off-Broadway Alliance Award- Unnatural Acts The Advocate Honorable Mention Top 10 Plays of 2011- Unnatural Acts

Teaching Awards/Recognition

2014 Ken Freedman Advisor Award- University of Kentucky Thirty candidates were selected as finalists for this prestigious student nominated award from the entire University of Kentucky. I was the overall winner of the Faculty Award out of the 30 selected candidates. http://www.uky.edu/studentsuccess/freedman-awards

Dramatists Guild of America Kentucky Town Hall Meeting

I was a guest speaker for Dramatists Guild of America at the Kentucky Town Hall Meeting to discuss the Off-Broadway play, Unnatural Acts, which I co-wrote. The panel discussion took place on April 2, 2013 in the Niles Gallery at the University of Kentucky.

Casting

Casting Assistant for Mackey/Sandrich Casting October 2007-May 2010

Casting Assistant: The Adjustment Bureau (starring Matt Damon and directed by George Nolfi), The Proposal (starring Ryan Reynolds and Sandra Bullock), The Good Guy (starring Bryan Greenberg), and The Green Zone (starring Matt Damon)

Related Experience

Founding Member of Plastic Theatre , New York, New York Member of the 2000/2001 Acting Apprentice Company, Actors Theatre of Louisville Trained with the Anne Bogart and SITI Company (Suzuki/Viewpoints) Certified Actor Combatant with Dueling Arts International/Gregory Hoffman

South Eastern Theatre Conference Presenter

2017 Presenter in Lexington, KY

“Acting for the Close-Up” Approximately one hundred students were in attendance. I chose ten actors to work on camera with a short scene based on an original exercise. In one hour each actor left with an understanding of some basic principles for acting successfully on film including: acting with the proper amount of movement in a close-up, overlapping dialogue, playing to the most efficient eye line, giving the editor a specific cutting point, and creating a truthful reaction for the editor. 100 students

“Calling All Co-Stars” Eight actors were selected to work on camera with a Co-Star/Under 5 role from a current television show. The class focused on my Five Key Elements to creating a professional co-star role in performance or for an audition. The eight actors that participated demonstrated these key elements after rehearsing and examining the specific moments. The entire class witnessed the evolution of the before and after performance on the monitor. 70 students

2015 Presenter in Chattanooga, TN

2014 Presenter in Mobile, AL I presented two presentations for the 2014 South Eastern Theatre Conference:

“Let’s Create a Play in One Hour” I led 30 students in creating an original devised performance piece based on the theme of “romance” in one hour. There were six groups of five actors per group. Each group consisted of one playwright, one director, and three actors. Students shared personal stories as a stream of consciousness. The playwright would decide what lines of dialogue would be used while the director led the composition. After a series of stages, each group

“Auditioning for Film” Eighty students were in attendance. I chose ten actors to work on camera in class. Topics that were explored were: entering the room with confidence, slating on camera, creating a moment before, playing off the reader, maintaining the proper focus, and exiting the audition room with grace. 80 students

Kentucky Theatre Association (KTA)

Professional Audition Screener, 2014 I sat on a panel and screened over 100 auditions of undergraduate actors as they attempted to be passed on to the South Eastern Theatre Conference.

Kentucky Thespian Festival

Guest Instructor, 2014 and 2015 I was invited to teach a series of classes: “Acting for the Camera, “Improvisation/Theatre Games”, and “Devising Theatre Through Movement”, for the top high school theatre students throughout the state of Kentucky.

Professional/Academic References

Tony Speciale Plastic Theatre NYC (Drama Desk Nominated Director and Playwright) Artistic Director of the Abingdon Theatre, New York City Contact Info: Upon Request

Jandiz Estrada Casting Director, NBC Studios and Mackey Sandrich Casting, New York City Contact Info: Upon Request

David Denman Professional Actor (most notably “Roy” from the Office), NBC Productions Contact Info: Upon Request

Daniel Schecter Professional Screenwriter and Director (Life of Crime, Supporting Characters) Contact Info: Upon Request

Nelson Henderson Theatrical Agent Brick Entertainment, Los Angeles Contact Info: Upon Request

Nancy C. Jones Department Chair University of Kentucky Department of Theatre and Dance Contact Info: Upon Request

Susie Thiel Assistant Professor of Theatre Director of Dance University of Kentucky Department of Theatre and Dance Contact Info: Upon Request

VP Boyle Relativity School, Los Angeles Commercial Dance Chair Contact Info: Upon Request

Sullivan White Transylvania University, KY Department of Theatre Acting Chair Contact Info: Upon Request

Michael Bigelow Dixon Transylvania University, KY Department of Theatre Assistant Professor of Theatre Contact Info: Upon Request

Glynis Rigsby Professor New School for Social Research, NYC Contact Info: Upon Request