DOCSLIB.ORG

Curriculum Vitae Barrett Ogden

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Curriculum Vitae Barrett Ogden Curriculum Vitae Barrett Ogden 1457 East 920 South Provo, UT 84606 Phone: (818) 415-9350 E-mail: [email protected] www.barrettogden.com http://bit.ly/BarrettOgdenIMDb EDUCATION MFA, Theater: Contemporary Performance, 2009 NAROPA UNIVERSITY, Boulder, CO BA Theater (Acting Track), 1997 BRIGHAM YOUNG UNIVERSITY, Provo, UT CERTIFICATIONS Fitzmaurice Voicework Teacher, 2017 (Pending) Catherine Fitzmaurice, Barcelona, SPAIN Grotowski-based Psychophysical Acting Teacher, 2016 (Pending) Stephen Wangh, New York City, NY (Dean-nominated) Great Teachers Invitational Summit Training, 2011 UTAH VALLEY UNIVERSITY WASATCH CAMPUS, Heber, UT Designated Viewpoints Teacher, 2009 NAROPA UNIVERSITY, Boulder, CO Guild Certified Feldenkrais Practitioner©, 2003 EAST COAST PROFESSIONAL FELDENKRAIS® TRAINING PROGRAM, Montclair, NJ Alba Emoting™ CL1, 2002 Christine Scott, New York, NY Bartenieff Fundamentals, 1995 Pat Debenham, BRIGHAM YOUNG UNIVERSITY, Provo, UT UNIVERSITY APPOINTMENTS Adjunct Professor, Fall 2013 – present Voice, Movement, and Acting UTAH VALLEY UNIVERSITY, Orem, UT Lecturing Professor of Acting, Voice and Movement, Fall 2011 – Spring 2013 Acting, while serving as interim Professor of Voice and Movement, including Dialects, Movement, and Voice & Speech UTAH VALLEY UNIVERSITY, Orem, UT Adjunct Professor, Fall 2010 – Spring 2011 Acting UTAH VALLEY UNIVERSITY, Orem, UT Co-Instructor, Spring 2009 NAROPA UNIVERSITY, Boulder, CO Co-Instructor, Fall 2008 NAROPA UNIVERSITY, Boulder, CO 1 UNIVERSITY INVITATIONAL TEACHING Feldenkrais® - for the Actor Guest Teacher, February 2011 UTAH VALLEY UNIVERSITY, Provo, UT Feldenkrais® - for the Actor Guest Teacher, March 2009 UNIVERSITY OF COLORADO - BOULDER, Boulder, CO Feldenkrais® - for the Actor Guest Teacher, Feb 2005 BRIGHAM YOUNG UNIVERSITY, Provo, UT Feldenkrais® - for the Actor Guest Teacher, Nov 2004 BRIGHAM YOUNG UNIVERSITY, Provo, UT ADDITIONAL TEACHING Teacher, 2017 – present THE ACTOR’S CIRCLE Private Intensive Holistic Training for the Film Actor in Acting, Voice and Movement, via Skype and in person, Salt Lake City, UT Teacher, October 2016 – December 2016 Foundations of Acting Technique for Youth Private weekly group, Layton Montissori School, Layton, UT Invited Teacher, March 2016 Stress Relief through Yoga and the Feldenkrais Method UNITED STATES INSTITUTE FOR THEATRE TECHNOLOGY 56TH ANNUAL CONFERENCE & STAGE EXPO, SALT PALACE CONVENTION CENTER, Salt Lake City, UT Invited Teacher, June – July 2012 Acting, Movement, Voice EVERYTHING THEATRE COMPANY, ARENAN, Falun, SWEDEN and CAUX PALACE, Caux, SWITZERLAND Instructor, June 2010 Stage Combat NOORDA THEATRE SUMMER CAMP, UTAH VALLEY UNIVERSITY, Orem, UT Guest Instructor, Summer 2011 Acting UTAH VALLEY UNIVERSITY, Orem, UT Guest Instructor, May 2010 Acting, Movement, Viewpoints, Voice SALT LAKE SCHOOL FOR THE PERFORMING ARTS, Salt Lake City, UT Guest Instructor, April 2010 Acting, Directing, Improvisation, Movement, Shakespeare, Stage Combat, Voice & Speech, Viewpoints SALT LAKE SCHOOL FOR THE PERFORMING ARTS, Salt Lake City, UT Guest Instructor, February 2010 Acting, Business of “the Business”, Directing, Improvisation, Movement, Shakespeare, Voice & Speech, Viewpoints SALT LAKE SCHOOL FOR THE PERFORMING ARTS, Salt Lake City, UT Guest Instructor, December 2009 Acting, Business of “the Business”, Directing, Feldenkrais, Improvisation, Movement, Shakespeare, Voice & Speech, Viewpoints SALT LAKE SCHOOL FOR THE PERFORMING ARTS, Salt Lake City, UT 2 Guest Instructor, October 2009 Acting, Business of “the Business”, Directing, Feldenkrais, Improvisation, Movement, Shakespeare, Voice & Speech, Viewpoints SALT LAKE SCHOOL FOR THE PERFORMING ARTS, Salt Lake City, UT Teaching Artist / Representative, Jan – May 2007 UTAH SHAKESPEARE FESTIVAL EDUCATIONAL TOUR, over 70 dates throughout AZ, ID, NV, UT Feldenkrais Teacher®, 2004 – 2007 Private clients, Salt Lake City / Provo, UT Acting Teacher, 2004 – 2007 Private clients, Salt Lake City / Provo, UT Feldenkrais® for the Actor Guest Teacher, Sept 2003 Private clients at TERRY MCCOMBS STUDIO / HUGHES BROTHERS THEATER, Branson, MO Acting for the Actor Teacher, Sept 2003 Private clients at TERRY MCCOMBS STUDIO / HUGHES BROTHERS THEATER, Branson, MO Feldenkrais® for the Actor Teacher, 2002 HANDCART ENSEMBLE THEATRE COMPANY, New York, NY Acting Teacher, 2002 HANDCART ENSEMBLE THEATRE COMPANY, New York, NY Feldenkrais® Teacher, 2002 Private on-site clients, New York, NY Performance Training Retreat Leader, 2000 HANDCART ENSEMBLE THEATER COMPANY, New York, NY Acting Workshop Leader, 1999 – 2001 HANDCART ENSEMBLE THEATER COMPANY, New York, NY COURSES TAUGHT Acting Styles – THEA 4123 Section 001, Fall 2012 Instilled students with awareness and appreciation of personal qualities, types and style; trained them in principles of Classical style overall, and in-depth work with Greek Tragedy, Elizabethan, and Molière through scene work, exercises (from Michael Chekhov, Laban, Viewpoints, and more); deepened engagement and appealed to additional learning styles through journaling of learning process, peer review, analysis of Styles work in theatre productions on and off campus, and from various film selections, in-class student-presented workshop segments, text-based and knowledge quizzes via CANVAS on-line system; advised and graded students. UTAH VALLEY UNIVERSITY, Orem, UT Movement for Actors II – THEA 3123 Section 001, Summer Block 2 2016 Trained students in Neutral Mask, Acting Styles movement preparation, Grotowksi-based Psychophysical Acting movement work, dehabituation of self-use through the Feldenkrais Method and various Yoga forms, generation of performance material, warm-up strategies, some elements of Laban, Michael Chekhov Technique and Contact Improvisation; deepened engagement and appeal to additional learning styles through journaling of learning process, peer review, analysis of Movement work in theatre productions on and off campus, peer-evaluated student research papers on various movement training approaches, text-based and knowledge quizzes via CANVAS on-line system, and student-devised performances; advised and graded students. UTAH VALLEY UNIVERSITY, Orem, UT 3 Introduction to Movement for Actors – THEA 2123 Section 002, Fall 2016 Section 001, Summer Block 1 2016 Section 001, Spring 2016 Section 001, Spring 2015 Section 001, Fall 2014 Section 001, Spring 2014 Section 001, Fall 2013 Section 001, Spring 2013 Section 001, Fall 2012 Sections 001 and 002, Spring 2012 Trained students in Viewpoints, Michael Chekhov Technique, Contemplative Movement Practices, Barbara Dilley’s Red Square and Score Improvisational Movement Forms, dehabituation of self-use, generation of performance material, warm-up strategies, Feldenkrais, Contact Improvisation, Laban, Neutral Mask; deepened engagement and appealed to additional learning styles through journaling of learning process, peer review, analysis of Movement work in theatre productions on and off campus, peer-evaluated student research papers on various movement training approaches, text-based and knowledge quizzes via CANVAS on-line system, and student-devised performances; advised and graded students. UTAH VALLEY UNIVERSITY, Orem, UT Stage Dialects – THEA 3123 Section 001, Fall 2011 Helped students further strengthen range and expressivity of vocal instrument and characterization through mastery of various dialects (General American, Received Pronunciation, Southern regions, Irish, NYC boroughs, French, German) and refining of acuity with IPA and articulation through scene and monologue work, IPA transcription of text, and group improvisation activities; deepened engagement and appealed to additional learning styles through journaling of learning process, peer review, analysis of Dialect work in theatre productions on and off campus, field trip investigation of specific dialect traits, and student-devised workshop presentations of each dialect; counseled and graded students. UTAH VALLEY UNIVERSITY, Orem, UT Voice & Diction – THEA 1113 Section 001 (BFA students) and 002, Spring 2016 Section 002, Spring 2014 Section 001, Fall 2013 Sections 001 and 002, Spring 2013 Sections 001, 002 and 003, Spring 2012 Sections 001 and 002, Fall 2011 Trained students in Rodenburg, Linklater, Berry, Feldenkrais-based approaches for Relaxation, Release, Open Throat, Supported Breath, Stamina, Projection, Articulation, Diction, IPA, warm-up strategies, and in application to Shakespearian and Classical Text through scansion and performance of solo and scene work with sonnets; deepened engagement and appealed to additional learning styles through journaling of learning process, peer review, analysis of Voice work in theatre productions on and off campus, text-based and knowledge quizzes via CANVAS on-line system; counseled and graded students. UTAH VALLEY UNIVERSITY, Orem, UT Auditioning – THEA 4113 Section 001, Spring 2011 While serving as interim instructor on behalf of Dr. Chris Clark for first five weeks of course, trained students in impulse response work, Michael Chekhov technique, psychophysical acting, Stanislavksy-based task/objective and action/tactic work, improvisation, theatre games, performance of Contemporary American monologues; 4 Worked with, studied, and discussed application, exercises, and theory of audition techniques based upon Joanna Merlin’s Audition; counseled and graded students. UTAH VALLEY UNIVERSITY, Orem, UT Fundamentals of Acting II – THEA 2033 Section 002, Fall 2016 Section 001, Fall 2014 Section 001, Fall 2012 Sections 001 and 002, Spring
Load more

Recommended publications
  • Articulating the Psychological and Physiological Responses in Voice and Movement Training
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2015-09-30 Unnamed Encounters: Articulating the Psychological and Physiological Responses in Voice and Movement Training Dyment, Jackie Dyment, J. (2015). Unnamed Encounters: Articulating the Psychological and Physiological Responses in Voice and Movement Training (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/28588 http://hdl.handle.net/11023/2566 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Unnamed Encounters: Articulating the Psychological and Physiological Responses in Voice and Movement Training by Jackie Dyment A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN DRAMA CALGARY, ALBERTA SEPTEMBER, 2015 © Jackie Dyment 2015 Addendum This addendum is to be applied to “Chapter 4: Case Study A, Examining Articulation in Judith Koltai’s Embodied Practice™ through a PAR Methodology”. Following a conversation with Embodied Practice™ founder Judith Koltai regarding Case Study A she disseminated the following edits on April 4th 2016, which I stand behind as necessary to the integrity of this thesis. As they apply most directly to articulating the practice, it is essential they are read.
    [Show full text]
  • Towards a 20Th Century History of Relationships Between Theatre and Neuroscience
    DOI - http://dx.doi.org/10.1590/2237-266043942 ISSN 2237-2660 Towards a 20th Century History of Relationships between Theatre and Neuroscience Gabriele Sofia University Paul Valéry Montpellier 3 – Montpellier, France ABSTRACT – Towards a 20th Century History of Relationships between Theatre and Neuroscience1 – This article considers some preliminary reflections in view of a 20th century theatre-and-neuroscience history. Up to now, the history of the 20th century theatre has been too fragmentary and irregular, missing out on the subterranean links which, either directly or indirectly, bound different experiences. The article aims to put in evidence the recurrent problems of these encounters. The hypothesis of the essay concerns the possibility of gathering and grouping a great part of the relationships between theatre and neuroscience around four trajectories: the physiology of action, the physiology of emotions, ethology, and studies on the spectator’s perception. Keywords: Theatre History. Neuroscience. Physiology. Ethology. Spectator. RÉSUMÉ – Vers une Histoire des Relations entre Théâtre et Neurosciences au XXe Siècle – L’objectif de l’article est de poser des hypothèses de départ et des réflexions en vue d’une histoire du théâtre et des neurosciences au XXe siècle. L’historiographie du théâtre du XXe siècle a considéré jusqu’ici que ces relations étaient trop fragmentées et hétérogènes et n’a pas su voir les liens souterrains, directs et indirects entre ces diverses expériences. Le but de l’article est de mettre en évidence les problèmes récurrents de ces rencontres. L’article réfléchit donc sur la possibilité de rassembler la plus part des rencontre entre théâtre and neurosciences autour de quatre thèmes principales: la physiologies de l’action, la physiologie des émotions, l’éthologie et les études sur la perception du spectateur.
    [Show full text]
  • WHY WE STAY Samoan Temple Burns Down; Book Stirs Controversy; FIVE PERSPECTIVES New LDS Films; More! (P.74) J
    Cover_129.qxd 10/15/2003 10:05 AM Page 2 MORMON EXPERIENCE SCHOLARSHIP ISSUES & ART THE MAKING OF IMMANUEL: SUNSTONESUNSTONE Brian David Mitchell and the Mormon Fringe by John-Charles Duffy (p.34) NEBULA an England essay contest winner by Mari Jorgensen (p.46) Experience the YEAR OF THE CICADA a story by Joe Peterson (p.52) Surviving BYU and Berkeley by Joanna Gardiner (p.57) IN MEMORIAM: Dean L. May and Stanley B. Kimball (p.6) 2003 Salt Lake Sunstone Symposium Report (p.68) UPDATE Conference news: Church members arrested after confrontations with street preachers; LDS leaders speak out on same-sex marriage legislation; WHY WE STAY Samoan temple burns down; Book stirs controversy; FIVE PERSPECTIVES New LDS films; More! (p.74) J. Frederick “Toby” Pingree, October 2003—$5.95 MaryAnne Hunter, Bill Bradshaw, Grethe Peterson, & Thomas F. Rogers ifc.qxd 10/15/2003 10:08 AM Page 1 Washington MOLLY BENNION—ORGANIZER ROY BENNION LEVI S. PETERSON RICHARD DUTCHER MARNI CAMPBELL ARMAND L. MAUSS THERESA ROTH CHARLOTTE ENGLAND TOM MUMFORD SUSAN PALMER JULIE MUMFORD DAVID HUNTER DAN PINGREE SAGE JOHNS LEAH SMITH pecial thanks to this year’s fall regional symposium volunteers! S Tape order form, page 73 Texas STEVE ECCLES—ORGANIZER MARGARET BLAIR YOUNG ROBERT H. BRIGGS DARIUS GRAY DAVID FEATHERSTONE ARMAND L. MAUSS CLIFTON JOLLEY VICKIE STEWART EASTMAN PAUL H. SMITH DARRELL FLETCHER LAEL LITTKE 01_toc.qxd 10/15/2003 11:19 AM Page 1 MORMON EXPERIENCE, SCHOLARSHIP, ISSUES, & ART OCTOBER 2003 Issue 129 FEATURES 22 J. Frederick “Toby” Pingree, . WHY WE STAY MaryAnne Hunter, Bill Bradshaw Grethe Peterson, Thomas F.
    [Show full text]
  • THESIS a REASON to BELIEVE: a RHETORICAL ANALYSIS of MORMON MISSIONARY FILMS Submitted by Sky L. Anderson Department of Communic
    THESIS A REASON TO BELIEVE: A RHETORICAL ANALYSIS OF MORMON MISSIONARY FILMS Submitted by Sky L. Anderson Department of Communication Studies In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Spring 2012 Master’s Committee Advisor: Carl Burgchardt Eric Aoki Kathleen Kiefer ABSTRACT A REASON TO BELIEVE: A RHETORICAL ANALYSIS OF MORMON MISSIONARY FILMS In this analysis, I examine Mormon cinema and how it functions on a rhetorical level. I specifically focus on missionary films, or movies that are framed by LDS missionary narratives. Through an analysis of two LDS missionary films, namely Richard Dutcher’s God’s Army (2000) and Mitch Davis’ The Other Side of Heaven (2001), I uncover two rhetorical approaches to fostering spirituality. In my first analysis, I argue that God’s Army presents two pathways to spirituality: one which produces positive consequences for the characters, and the other which produces negative consequences. I call these pathways, respectively, ascending and descending spirituality, and I explore the rhetorical implications of this framing. In my second analysis, I contend that The Other Side of Heaven creates a rhetorical space wherein the audience may transform. Specifically, the film constructs a “Zion,” or a heaven on earth, with three necessary components, which coincide perfectly with established LDS teachings: God, people, and place. These three elements invite the audience to accept that they are imperfect, yet they can improve if they so desire. Ultimately, by comparing my findings from both films, I argue that the films’ rhetorical strategies are well constructed to potentially reinforce beliefs for Mormon audiences, and they also may invite non-Mormons to think more positively about LDS teachings.
    [Show full text]
  • In the United States District Court for the District of Utah
    Case 2:15-cv-00110-DB Document 114 Filed 05/08/17 Page 1 of 15 IN THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF UTAH CENTRAL DIVISION RICHARD DUTCHER, MEMORANDUM DECISION AND ORDER Plaintiff, v. Case No. 2:15-cv-110-DB-PMW BOLD FILMS LP; BOLD FILM PRODUCTIONS, LLC; OPEN ROAD FILMS, LLC; NBC UNIVERSAL MEDIA, LLC; and UNIVERSAL STUDIOS HOME ENTERTAINMENT, LLC, District Judge Dee Benson Defendants. Chief Magistrate Judge Paul M. Warner District Judge Dee Benson referred this case to Chief Magistrate Judge Paul M. Warner pursuant to 28 U.S.C. § 636(b)(1)(A).1 Before the court are Richard Dutcher’s (“Plaintiff”) three motions to compel various discovery requests from Bold Films LP; Bold Films Productions, LLC; Open Road Films, LLC; NBC Universal Media, LLC; and Universal Studios Home Entertainment, LLC (collectively, “Defendants”).2 The court has carefully reviewed the written memoranda submitted by the parties. Pursuant to civil rule 7-1(f) of the Rules of Practice for the United States District Court for the District of Utah, the court has concluded that oral argument is not necessary and will determine the motions on the basis of the written memoranda. See DUCivR 7-1(f). 1 Dkt. no. 80. 2 Dkt. nos. 100, 101, and 106. Case 2:15-cv-00110-DB Document 114 Filed 05/08/17 Page 2 of 15 BACKGROUND In 1999, Plaintiff wrote the screenplay for the movie Falling. Plaintiff’s movie was filmed in 2007, at which time he registered a copyright with the United States Copyright Office.
    [Show full text]
  • Download Resume
    Monica Moore Smith Eyes: blue • Hair: blonde • Height: 5’4” • Size: small/medium Talent Management Group, Inc. [email protected] • 801.319.6623 512 E 4500 S, #200 • Salt Lake City, Utah 84107 MonicaMooreSmith.com • IMDB.me/MonicaMooreSmith Vickie Panek • [email protected] • 801.263.6940 Television Battle of the Ages Character Co-Host Big Game Productions Inc. Big Family Movie Host BYUtv Devin Supertramp Fortnite Lead Devin Graham Primary Pals with David Osmond Series Lead Joseph Wilkins Devin Supertramp Super Smash Bros Lead Devin Graham Life Crunch Personal Responsibility Guest Star Neil Haitt Theatrical Romance in the Outfield: Double Play Lead Randolph Sternberg, Rebecca Sternberg Twice The Dream Lead Savannah Ostler Saturday's Warrior Supporting Lead Michael Buster A Seat For Everyone Supporting Lead Cactus Jack Missionary Safety Series Featured Blair Treu Waiting Lead Emily Mcney 13 Bullets Supporting Lead Richard Dutcher Fairness for All Lead Sterling Van Wagenen Bullying - Stop It Supporting Feature Lucas James McGraw To Have and To Hold Lead Colten Elzy Mission Advantage Lead Kelyn Ikegami Room Enough Supporting Lead Ben Wray Commercial Sinclair Oil 100th Anniversary - Are We There Yet? Supporting Lead Fueld Films Ken Garff Lead Faktory Poo-Pourri Supporting Chamber Media Utah Community Credit Union Supporting Molin Christmas Anxiety Support Group Lead Deseret Book $5 Smile Club Lead Circa3 Check City Lead First Vision Group Lucid Mattress Lead Malouf Films Morgan Jewelers Lead Thomas Arts WyzeCam Supporting Lead Atomic
    [Show full text]
  • Ingressive Phonation in Contemporary Vocal Music, Works by Helmut Lachenmann, Georges Aperghis, Michael Baldwin, and Nicholas
    © 2012 Amanda DeBoer Bartlett All Rights Reserved iii ABSTRACT Jane Schoonmaker Rodgers, Advisor The use of ingressive phonation (inward singing) in contemporary vocal music is becoming more frequent, yet there is limited research on the physiological demands, risks, and pedagogical requirements of the various ingressive phonation techniques. This paper will discuss ingressive phonation as it is used in contemporary vocal music. The research investigates the ways in which ingressive phonation differs acoustically, physiologically, and aesthetically from typical (egressive) phonation, and explores why and how composers and performers use the various ingressive vocal techniques. Using non-invasive methods, such as electroglottograph waveforms, aerodynamic (pressure, flow, flow resistance) measures, and acoustic analyses of recorded singing, specific data about ingressive phonation were obtained, and various categories of vocal techniques were distinguished. Results are presented for basic vocal exercises and tasks, as well as for specific excerpts from the repertoire, including temA by Helmut Lachenmann and Ursularia by Nicholas DeMaison. The findings of this study were applied to a discussion surrounding pedagogical and aesthetic applications of ingressive phonation in contemporary art music intended for concert performance. Topics of this discussion include physical differences in the production and performance of ingressive phonation, descriptive information regarding the various techniques, as well as notational and practical recommendations for composers. iv This document is dedicated to: my husband, Tom Bartlett my parents, John and Gail DeBoer and my siblings, Mike, Matt, and Leslie DeBoer Thank you for helping me laugh through the process – at times ingressively – and for supporting me endlessly. v ACKNOWLEDGEMENTS I have endless gratitude for my advisor and committee chair, Dr.
    [Show full text]
  • My Life with the Voice
    My Life with the Voice Introduction What I am setting out to do in this essay is to explain something of the history of my work with the voice and Shakespearean text over the last 40 years or more: from my introduction to the teachings of Roy Hart, through the creation of my own technique, to the development of this technique within Europe. I actually began working on the voice and classical text at the age of seven, with my school voice teacher, Miss Mitchell, and at seventeen I went to the Central School of Speech and Drama to train as an actress. (Cicely Berry was my voice teacher there). In 1962, while I was at Central, I was introduced by Paul Silber to a man called Roy Hart, who was doing research work on the human voice. Roy was a white South African who had won a Scholarship to RADA in the 1940s, and had gone on to become a psychologist and an actor. During his time at RADA, Roy had met Alfred Wolfsohn, a singing teacher who had developed his own approach to work on the human voice. Alfred Wolfsohn and Roy Hart Alfred Wolfsohn was a German Jew who, at 18 years old, fought in the First World War. After the war he was broken in body and soul by his experiences, like so many young men at the time. What Wolfsohn remembered most were the cries of the dying soldiers, and he asked himself how could there be such life in the voice of someone who is dying.
    [Show full text]
  • JH Resume 2016 TMG.Pages
    JEREMY HOOP FILM (PARTIAL LIST) STELLA STARRING VANESSA GREENE DIR. LOVE EVERLASTING SUPPORTING ROB DIAMOND, DIR. ROAD TO EMMAUS STARRING BRUCE NIEBAUR, DIR. EPHRAIM’S RESCUE SUPPORTING TC CHRISTENSEN DIR. THE ORCHARD STARRING GO FILMS/NATHAN LEE DIR. BULLSEYE STARRING MATT POPE DIR. LIFTED UP STARRING ERWIN BROTHERS FILMS CHARLY STARRING ADAM ANDEREGG DIR. MOOLA SUPPORTING DON MOST DIR. JONAH AND THE GREAT FISH SUPPORTING DENNIS AGLE DIR. ABRAM’S REWARD SUPPORTING ERWIN BROTHER’S FILMS JUST A DREAM SUPPORTING SHOWTIME/DANNY GLOVER DIR. OUT OF STEP STARRING RYAN LITTLE DIR. THE TESTAMENTS STARRING KIETH MERRIL DIR. THE KING’S FALCON STARRING DEBORAH HOFSTEDT DIR. THE APOSTASY SUPPORTING BLAIR TREU DIR. SONS OF PROVO SUPPORTING WILL SWENSON DIR. BRIGHAM CITY SUPPORTING RICHARD DUTCHER DIR. THE SINGLE’S WARD SUPPORTING KURT HALE DIR. TELEVISION FIRESTARTER 2: REKINDLED (W/Danny Nucci) SUPPORTING USA/SCI-FI MINI SERIES PERFECT MURDER, PERFECT TOWN (W/John Heard) SUPPORTING CBS/MINI SERIES BEYOND THE PRAIRIE (W/ Walton Goggins) SUPPORTING CBS TOUCHED BY AN ANGEL GUEST STAR CBS PACIFIC BLUE (2 EPISODES) GUEST STAR USA PROMISED LAND (W/Gerald McRaney) GUEST STAR CBS TOUCHED BY AN ANGEL (4 Episodes) CO-STAR CBS EVERWOOD CO-STAR WB COVER ME CO-STAR USA UNDER CONTRACT GUEST STAR USA/PILOT COMMERCIAL/INDUSTRIAL (PARTIAL LIST) POKEMON - TOMY PRINCIPAL PARENTWISE PRINCIPAL VERIZON WIRELESS PRINCIPAL ANCESTRY.COM PRINCIPAL NAPA AUTOPARTS PRINCIPAL MICROSOFT PRINCIPAL SOUTHWEST AIRLINES PRINCIPAL ALBERTSONS PRINCIPAL INTEL PRINCIPAL WELLS FARGO PRINCIPAL
    [Show full text]
  • CATHLEEN MASON Broadway Film Management 175 West 2700 South SLC UT 84105 (801) 557-4782 FEATURE FILMS
    CATHLEEN MASON Broadway Film Management 175 West 2700 South SLC UT 84105 (801) 557-4782 FEATURE FILMS The Letter Writer Lynn, the nurse/Day Player Christian Vuissa Dir./ Mirror Films Blood Fare Dean Deveroux/Day Player J.A. Steel Dir./Warrior Entertainment Jospeh Smith and the Golden Plates Midwife 1/Day Player Christian Vuissa Dir./Mirror Films For Robbing the Dead Mrs. Carpenter/supporting Tom Russell Dir./First Light Productions The Wayshower,Lord of the Realms Mrs. Hinkins/Day Player Jsu Garcia & John Roger Dir./Gilgamesh Productions Joseph Smith,Prophet of the Restoration Pioneer Thom Eberhardt Dir./LDS Motion Picture One Good Man Weeping Woman/Featured Christian Vuissa Dir./Mirror Films The Book of Mormon Movie Weeping Woman/Featured Gary Rogers Dir./Mormon Productions Charly Sister Atkins/Day Player Adam Anderegg Dir./Kalidescope Productions Brigham City Barbra,townswoman/Day Player Richard Dutcher Dir./Zion Films TELEVISION None-the-Less Mom/supporting Brandi Lynn Anderson Dir./Drop-the-Ball Productions The Kane Files Wendy's Mom/featured Ben Gourley Dir./ Aesop Productions The Gap Helen, the mom/Day Player Antonio Lexoroot Dir./Stick Pictures/episodic Annother Audience Mrs. Meek, teacher/supporting Adam Anderegg Dr./BYU Productions/KBYU The Absence of the Good Mrs. Gumme/Day player John Flynn Dir./ Absence Prod./ HBO Special Touched by An Angel/Angel of Death The Angry Woman/Day Player Tim Van Patten Dir./Caroline Prod./CBS Series BUSSINESS/INDUSTRIAL/EDUCATIONAL/SHORTS/FEASTIVALS/COMMERICALS/V.O. Dead People Don't Talk Mom /supporting
    [Show full text]
  • Writer-Director Richard Dutcher, Unquestionably the Dominant Personality in the Past Decade of Mormon Cinema, on Location with A
    Writer-director Richard Dutcher, unquestionably the dominant personality in the past decade of Mormon cinema, on location with actors Jo-Sei Ikeda and Ignacio Serricchio for his film States of Grace (2005). Dutcher—who has worked as writer, actor, producer, director, and now editor—is credited with launching a new wave of Mormon film with his breakthrough production God’s Army in 2000, which not only set the stage for multiple theatrical releases of Mormon-themed pictures, but also sought to increase their realism and dramatic depth beyond the limited depic- tions of Mormons in Hollywood films or, conversely, institutional productions in the style of Judge Whitaker. © Main Street Movie Co. A History of Mormon Cinema: Fifth Wave V 127 The Fifth Wave: Cultural and Commercial Viability (2000–Present) The Fifth Wave of Mormon cinema is the current period, in which a culturally robust and commercially vibrant new art form is beginning to emerge. Its most obvious manifestation is in the stream of Mormon- themed theatrical feature films, produced independently of the Church, made by and for Latter-day Saints. Richard Dutcher’s much-celebrated God’s Army, released in March 2000, made him widely recognized as the father of this new movement in Mormon film, but his groundbreaking work actually marks a return to the past. The LDS filmmakers of the First Wave also sought to create 35mm films to be distributed through commer- cial theaters to a paying public. Mormon film has in many ways come full circle, with Latter-day Saints of the Fifth Wave attempting large theatrical productions at a time when anti-Mormon films are once again more vis- ible in the mainstream.
    [Show full text]
  • Provocações a Partir De Wolfsohn, Roy Hart E Pantheatre
    0 1 2 Laura Beatriz Backes VOZ E EMOÇÃO provocações a partir de Wolfsohn, Roy Hart e Pantheatre DEFESA DE DISSERTAÇÃO DE MESTRADO Aprovada em 09 de agosto de 2010 Banca Examinadora: Profª Drª Janaína Träsel Martins (UFSC) Profª Drª Mirna Spritzer (UFRGS) Profª Drª Sílvia Balestreri Nunes (UFRGS) 3 A quem me provoca. 4 Agradecimentos À família: Pelo constante debate que sempre houve em casa À minha mãe, que sempre confiou em meu tino e dava seus textos prá eu revisar quando eu ainda era uma guria Aos irmãos Ana, Zeca e Jorge por oferecerem gentilmente casas para meu isolamento e à Sílvia que me deu uma mão no inglês Aos amigos: Pelo estímulo inicial do LP, da Manika e da Lu Coc (quando eu precisava ouvir que eu tinha café no bule!) À parceria constante da Cibs: troca de livros e de idéias A tantos outros amigos que sempre se mostraram cúmplices... Aos colegas de trabalho: Breno, Cláudio, Lurdes, Liege, Nayane, Jussélia Por terem feito frente às minhas licenças Especialmente ao Airton e Mauricio por terem posto à disposição os grupos experimentais de Dança e Teatro, respectivamente. Aos alunos dos grupos experimentais de dança e teatro: Alessandro, Alice, Amália, Charles, Dinorah, Fábio, Gabriel, Giovanna, Iandra, Juliana, Luzia, Maria, Mariana, Patrícia e Raquel Por terem se arriscado comigo Aos Colegas do pós: Companheiros no mesmo barco, colaborando uns com os outros. (Helena, nossa compartilhadora de dicas e relatos oficial!) Às hospedeiras em minhas andanças: Ingrid, Andrea, Vera, Ximena, Javier, Nilsa e Marília... Aos colegas do corpo da voz por nossas primeiras pesquisas À Sonya Prazeres: O desafio dos buracos onde ela me enfiou me fez mais forte e guerreira Foi com ela que me apaixonei pela trajetória de Wolfsohn e Hart..
    [Show full text]