ATME Award Recipients

ATME sponsors serveral awards each year.
Click on a tab above to see the recipients.

ATME Lifetime Achievement Award


Colleen Kelly

Contributing to the development of professional theatre careers in countless ways, Colleen Kelly has influenced and shaped the way we define the term “theatre movement” and has helped foster the respect we now command as theatre movement specialists.

Colleen Kelly is one of ATME’s Founding Board of Directors members. Recognizing the need for an organized body to promote a national reputation for quality theatre movement training, Colleen culled ATME out of the Society of Theatre Movement Specialists in 1993 and nurtured it into the independent national organization we are today. Colleen served as ATME’s president from 1995-97, and she received the ATME Service Award in 1999. With a dedicated focus on the importance of collegial support and networking in our profession, Colleen spearheaded the ATME Promotion and Tenure Committee in 2009, generating new documentation to better assist those of us seeking tenure in the future.

Colleen’s professional credits in directing, choreography and coaching exceed beyond academia. She is a Certified Teacher, and a Fight Director for the Society of American Fight Directors and has staged fights for over 30 professional productions, working with directors such as Joanne Akalaitis, Mark Lamos and Michael Kahn, and in venues including The Old Globe, The Public Theatre, The Shakespeare Theatre, the Dallas Theatre Center, Denver Center Theatre, La Jolla Playhouse, San Diego Repertory Theatre, Milwaukee Repertory Theatre, American Shakespeare Center and the Alabama Shakespeare Festival.

Colleen is also an historical dance choreographer and a period styles coach. Of her numerous television and independent film credits, perhaps she’s best-known for the movement and dance in the 1994 film Sommersby, for which she was nominated for a Choreographer’s Achievement Award by L.A. Dance Magazine.

After earning her MFA in Acting from Ohio University, Colleen spent two years as an Assistant Professor at Louisiana State University before accepting an Assistant Professorship at the University of Virginia, where she earned tenure and promotion to Associate Professor while serving as the Associate Head of Acting and the Head of Movement for the MFA Actor Training Program.

Colleen left UVa in 1998 for an Endowed Chair position at the University of Alabama, where she served for four years as Director of the MFA Actor Training Program, then associated with the Alabama Shakespeare Festival.

Colleen continued to forge westward, moving in 2002 to San Diego to serve as Director of a brand-new Undergraduate Theatre Arts Program at the University of San Diego, while also teaching in their graduate actor training program.

Feeling an affinity for both The Bard and the serenity of the Shenandoah Valley, Colleen returned to central Virginia to the Blackfriars Playhouse in 2005. For seven years she split her time between Mary Baldwin College and the American Shakespeare Center at the Blackfriars, serving in the capacities of Director of Education, Director of Training, and Equity Actor, Fight Director and Movement Coach.

In 2011, Colleen returned to the University of Virginia as a Visiting Professor and interim Head of the MFA Actor Training Program. In Spring 2012, she accepted a full-time position at UVa, and is now Associate Professor and Director of the MFA Acting Program.

Colleen, here’s to a “lifetime” of achievement, and to knowing that you’ve only just begun.

(presented by Marianne Kubik, ATME Treasurer 2008-12, Associate Professor, University of Virginia)


Jacques Lecoq

(Awarded posthumously, and accepted by Pascale Lecoq, his daughter and current head of L'École Internationale de Théâtre).

Jacques Lecoq (December 15, 1921-January 19, 1999) was born in Paris, and became a French actor, mime, and acting instructor. He is most famous for his methods on physical theatre, movement, and mime that he taught at his school, L'Ecole Internationale de Theatre Jacques Lecoq from 1956-to his death in 1999.

He founded the school with the aim of producing a young theatre of new work, generating performance languages, which emphasize the physical playing of the actor. His training was aimed at nurturing the creativity of the performer, as opposed to giving them a codified set of skills. As students stayed with Lecoq's school for more than a year, he accomplished this training through the style of "via negativa", never telling the students how to do what was "right". The goal was to encourage the student to keep trying new avenues of creative expression.

His training involved an emphasis on Masks, starting with the neutral mask. The aim was that the neutral mask could aid an awareness of physical mannerisms, as an audience perceives it. From the neutral mask, he went on to work with "larval" masks and then half masks, gradually working toward the smallest mask, the red nose.

Three of the principal skills that he encouraged in his students were le jeu (play), complicite' (togetherness), and disponsibilite' (openness). He also set up in 1977 le Laboratoire d'Etude du Mouvement (Laboratory for the Study of Movement: L.E.M. for short. This was a separate department within the school, which looked at architecture, scenography and stage design and their links to movement.

From Lecoq, creative work was constantly stimulated, largely through improvisation, which is also the first approach to playwriting. The school's sights are set on art theatre, but theatre education is broader than theatre itself. It is not just a matter of training actors, but of educating theatre artists of all kinds: authors, directors, and scenographers, as well as actors.

In 1997, Lecoq wrote, “The Moving Body: Teaching Creative Theatre”. We can remember Lecoq and celebrate his contributions to theatre through his work and his teaching. “The clown has great importance as part of the search for what is laughable and ridiculous in man. We should put the emphasis on the rediscovery of our own individual clown, the one that has grown-up within us and which society does not allow us to express.” --Jacques Lecoq


Loyd Williamson

From a life-time of devotion to physical work for actors, Loyd Williamson developed and articulated a process for taking in, activating, and sending out physical actions which he called The Williamson Technique.

Loyd Williamson trained as an actor with Sanford Meisner 
at the Neighborhood Playhouse in New York City and with Harold Clurman. He also trained and worked in the dance/theatre company of Anna Sokolow and her 
company, The Players Project. He has stated that the beginnings of his technique began to stir within him during his years of 
study in the Meisner method while observing his fellow actors’ challenges in attempting to process the heightened emotional responses 
characteristic of the Meisner acting training. Today the primary teaching facility for the Williamson training is the Actors Movement Studio in New York City, and the Williamson Technique is currently taught as part of the actor training curriculum at Tisch School of the Arts, New York University; Mason Gross School of the Arts, Rutgers University; University of Colorado, at Boulder; American Academy of Dramatic Arts, New York City; University of the Arts, Philadelphia; Northern Illinois University, DeKalb; University of Nebraska, Lincoln; Maggie Flanagan Studios, William Esper Studios, and School for Film and Television, all in New York City; and The Actors Center in Chicago. Mr. Williamson has also coached actors on Broadway, in feature films and many regional theatres.

As described by William Esper, Artistic Director of the William Esper Studio, New York City and previous creator and Artistic Director of the Mason Gross School of Theatre, Rutgers University, “Loyd (Williamson) understood the issue was finding a way of freeing an actor and dissolving those muscular blocks in the body, and that permitted him to experience fully his emotional response so that everything was able to flow into him and through him and be processed, and then flow back out of him without any kind of impediment…”


Thomas Leabhart

Thomas Leabhart is Professor of Theatre and Resident Artist (1982-present) at Pomona College in Claremont, CA where he teaches mime, beginning acting, intermediate acting and directing. He previously taught at Ohio State University, was Resident Artist at Grand Valley State Colleges in Allendale, MI, and was Artistic Director and teacher at the Valley Studio, Spring Green, WI (1978-1981). He also teaches, performs, and lectures in Canada, Mexico, Brazil, Uruguay, England, Wales, western Europe, Singapore, and Japan.

He is the editor of Mime Journl, an internationally distributed periodical (22 volumes since 1974), author of Modern and Post-Modern Mime (1989), and author of 35 articles on related topics. He published Etienne Decroux in 2007 as part of the Routledge Performers Series. Directing projects include works by Moliere, Sophocles, and Sam Shepard, and his solo performance is entitled,
Bonjour, Monsieur Decroux.

He is a master teacher who shares joy of life, love of people and passion for his art with all his students and colleagues. His mind, body, and spirit express the work and thoughts of Decroux like no one else. He has a nurturing style of teaching and great humility toward his profession. He gives individual attention infused with love. Emphasizing the importance of listening as a theatre practioner, Tom says, “in the listening, you’re knitting it all together.”


Jewel Walker

Jewel Walker, theatre, is the recipient of the Outstanding Teacher in Higher Education Award presented by the Association for Theatre in Higher Education (ATHE). Walker's former students, including Ted Danson, Rene Auberjonois, Cherry Jones and others, wrote endearing letters of support on his behalf.

Walker is the primary movement instructor of University of Delaware's Professional Theatre Training Program and was known nationally as Mime Walker on Mister Roger's Neighborhood.

Jones, a 1995 Tony award winner for The Heiress, wrote that Walker's "extraordinary artistry, discipline and commitment has proved to be a vital navigational star in my professional career.... His voice is with me as I approach and develop each character."

Linda Balgord, who starred in the National Touring Company of Sunset Boulvard, wrote, "The work that I began as Jewel's student has never stopped. I have continued to use his teachings in all of my professional work. It is very difficult to find the words that can communicate the profound effect a master teacher can have on a student. I owe a great deal of my success as an actor to Jewel Walker."

Tom Hewitt, whose credits range from Frasier and All My Children to Broadway's School for Scandal, wrote, "I count Jewel as one of the most influential people in my work and in my life...17 years [after studying with Walker] the question I most ask myself is 'What would Jewel have me do?'"


Anna Halprin

Anna Halprin, now in her late eighties, continues to perform and teach in her home base in Marin County and San Francisco as well as nationally and internationally. From her first European invitation to perform at the XXVI Festival Internazionale di Musica Contemporanea in Vienna in 1963, to her most recent 2004 performance at the Festival D’Autome in Paris, Halprin has always consider herself a theatre person.

In 1955 Anna began developing a vision of theatre which stripped away artifice and returned to the body as the source of creativity. In the mid-sixties, Halprin directly influenced the New York experimental theatre scene with her performances and psychophysically based teaching. Her focus has been to renew the connection to communal ritual experience in theatre practice.

Her creative work has been supported by fellowships from the National Endowment for the Arts and the Guggenheim Foundation. She has many published articles and among her published books are Movement Ritual, Citydance, and Returning to Health through Movement and Imagery.


Bari Rolfe

Bari Rolfe (1916-2002) began dancing as a child and performed in California and Mexico. In 1953, Rolfe joined the Actor’s Workshop in San Francisco where she helped with stage movement and choreography.

She traveled to Paris in 1963 and studied for three years at Ecole Lecoq with Marcel Marceau. Her initial goal was to become a better dancer, but by 1966, Rolfe realized that she wanted to teach Lecoq technique rather than perform. Upon her return to the United States she was hired at UCLA’s newly formed Professional Actor Training Program and introduced Lecoq technique to this county. In later years, she taught at California State Northridge, University of Washington, and at the Conservatory of Mime at Chabot College in Hayward, CA, where she also served as coordinator of the program.

In addition to teaching, Rolfe published over one hundred articles and reviews. She authored six books, beginning with Behind the Mask in 1977 to her final work, Mask in Mime and Puppet in 2002. She also edited three volumes, including her historical Mimes on Miming. From 1966-2002 Rolfe choreographed, directed, and consulted on many productions both nationally and internationally, and gave numerous workshops on topics ranging from mask, story theatre, and period movement. Rolfe’s papers, books, masks and artifacts are housed at the San Francisco Performing Arts Library and Museum.


Moni Yakim

Moni Yakim has been on the faculty of the Juilliard School, Drama Division teaching movement and dance since 1968. He formerly headed the movement departments of Yale Drama School, Stella Adler Conservatory and Circle in the Square.

He studied at Le Théâtre National Populaire, Paris and performed with Le Théâtre Franco-Allemande. He was a principal performer in the mime companies of Etienne Decroux, Marcel Marceau. He founded and directed the Performance Theater Center.

Directed in Israel and Europe . Moni Yakim has directed contemporary and classical plays for Yale Rep., American Shakespeare Festival, Juilliard Drama Theater, Off-Broadway, Off-Off-Broadway and in Israel and Europe. He directed original production of Jacques Brel Is Alive and Well , Village Gate, N.Y.; and has directed opera and created movement for film. He is the author of Creating a Character.


Jim Hancock, Ph.D.

Throughout his teaching career, Jim Hancock specialized in Movement for Actors, Period Styles and The Alexander Technique. He received his doctorate at the University of Minnesota where he worked closely with Bob Moulton. A life-long learner he has extensive study and certification in diverse techniques including Aikido, the Form, and the Alexander Technique. He has acted and directed professionally and for academic institutions. He, along with his wife, Suzan Zeder, has conducted numerous creative workshops documented in their book, Spaces of Creation: The Creative Process of Playwriting.

He has headed and chaired acting/directing programs and departments at the University of Texas at Austin, Southern Methodist University and the University of South Florida. Many of his students teach in MFA and BFA Theatre programs throughout the United States including, among others, Rich Rand, Bruce Lecure, Marcia Douglas, and Sarah Barker.


Shirlee Dodge

Shirlee Dodge taught movement and dance at the University of Texas-Austin


Marjorie L. Barstow

Marjorie Barstow, 1899-1995, was the first graduate of F. M. Alexander's first teacher training course. A trained dance she taught dance and ballroom dance in Lincoln, Nebraska. In 1931 she joined the first Alexander Technique Teacher training in London, England with F. M. and A. R. Alexander. After spending a number of years as A. R. Alexander's assistant in Boston, she took a furlough in her career as an Alexander teacher. She came to prominence as a teacher in the early 1960's and was the Master Alexander Technique teacher at the International Movement Institute in Dallas, Texas in 1970. In the early 1970's she initiated a series of courses in Lincoln, Nebraska, her home. People interested in the Technique flocked to these courses and in time some of the most influential teachers teaching today became her students, people such as Frank Ottiwell, Jim Hancock, Sarah Barker, Michael and Lena Frederick, Bruce and Martha Fertman, and Bill and Barbara Conable among many others. Marjorie was an invited master teacher in departments of Theatre, Dance and Music at many Universities throughout the United States and the world. She received an Honorary Doctorate degree in the Humanities from Doane College for her pioneering work in the Alexander Technique. Her influence on the growth of the Technique and its pedagogy is incalculable.

ATME Outstanding Service Award


Sara Romersberger

Sara Romersberger, Movement Specialist at Southern Methodist University, Meadows School for the Arts, holds a B.S. in theatre education from Illinois State University, an M.A. in dance from the University of Illinois, and a Certificate of Mime/Movement from Ecole Jacques Lecoq, Paris, France.

She teaches Lecoq-based movement classes including placement, acrobatics, neutral and character mask, masks of the Commedia Dell' Arte, European clown, historical movement styles (Renaissance and Restoration) and dance of the 20th century.

Prior to coming to SMU, she held full-time faculty positions at Illinois Wesleyan University (tenured 1988), West Virginia University, and Elon College, N.C. With strong roots in modern dance and jazz, Ms. Romersberger has choreographed over fifty university and professional musical theatre productions and has danced (Julie Maloney Dance Company and Wendy Osserman Dance), directed, choreographed, and performed her own brand of movement theatre off-Broadway in New York at The Mint Theatre (Jackson Pollock: In The Painting) and Primary Stages (Hanna: A Run-On Odyssey).

At SMU, Professor Romersberger directed Peer Gynt, The Children’s Hour, Twelfth Night, Anything Goes, and The Three Cuckolds. She designed movement and dance and/or fight choreography for numerous Meadows Theatre productions: highlights include Mill on the Floss, Love’s Fire, Red Noses, The Threepenny Opera, As Five Years Pass, The Illusion, and The Robber Bridegroom, as well as Street Scene (SMU Opera). She also developed and workshopped a new musical, Boomerangst, for which she wrote the book and lyrics. In November 2006 she was awarded a Meadows Foundation Grant to produce and choreograph two productions of La Discreta Enamorada with Spanish director Gustavo Tambascio. The play was produced at SMU in English as part of the Division of Theatre season with students and subsequently with Dallas Spanish actors in Spanish.

She has been a member of ATME and ATHE since 2003, and has served tirelessly as focus rep, conference planner, Vice-president, President, Past-President, and continues to contribute one or two remarkable workshops on Commedia, masks, and Lecoq. She assisted Rachel Bowditch in forming MOVE, a week of movement training for ATME, and brought encouragement and enthusiasm to ATME prior to, during, and after her service as President.

Her professional work in the Dallas area since 2000 includes directing Tripping the Light Fantastic for the Festival of Independent Theaters and creating or coaching movement, dance and/or fight choreography for The Taming of the Shrew, The Merry Wives of Windsor, Othello, All’s Well That Ends Well, Macbeth, The Tempest, A Midsummer Night’s Dream - the musical, As You Like It, A Comedy of Errors, and The Compleat Works of William Shakespeare (abridged) at the Shakespeare Festival of Dallas; for Anna in the Tropics, Hamlet, Wit and Crumbs From the Table of Joy at the Dallas Theater Center; for Greendale, Waiting for the Train, Blasted, The Late Henry Moss, A Man's Best Friend, and Silence at the Undermain Theatre; for Misery at Circle Theatre in Fort Worth; and for The Last Five Years at the Plano Repertory Theatre as well as additional shows at Theatre Three, Classical Acting Company and Contemporary Theatre of Dallas. She was a winner of a Dallas Theatre Critics award and a 2005 Rabin award for Special Recognition for Outstanding Choreography for her work on The Wrestling Season at Dallas Children’s Theater.

Regionally she choreographed stage combat, dances and physical comedy for The Comedy of Errors at the Unseam'd Shakespeare Co., Pittsburgh, 2002, and created the physical characters for two one-woman shows by Karen Grey for the Baltimore Theatre Project, 2002 and 2004.

She has conducted movement workshops at such locales as Boston University, the University of South Carolina, the National Theatre of the Deaf and the Oregon Shakespeare Festival. In 2002, she completed her CD ROM, "Unlocking the Physicality of Shakespeare's Comedies with the Masks of the Commedia," and was invited to present at MASKS, a national conference on masks of the theatre.

Internationally, she choreographed and served as assistant director for two operas, Hangman, Hangman and The Town of Greed (both world premieres), at Teatro de la Zarzuela, Madrid, Spain, September 2007 and subsequently in Barcelona with a new cast at Gran Teatre del Liceu in November 2007.

She also has taught internationally at the South African Performers' Voice and Movement Educators Conference in Pretoria, South Africa and the 1st International Festival of Making Theater in Athens, Greece, in July 2005 and at the Teatro Punto’s Master Classes Festival in Amsterdam in summer 2009.


Judith Chaffee

Judith served as Vice President of ATME from 2004-2006 and was instrumental in creating ATME’s website and served as coordinator for until 2012. She has been a continuous member of ATME since 1993 attending ATHE every year, presenting at numerous ATHE conferences and ATME pre-conferences and serving as a mentor, colleague and friend. Her resume below shows the breath of her movement training and contributions to the field:

BS, Skidmore College; MS, Smith College; Diploma, International School of Comic Acting, Reggio-Emilia, Italy. Additional training in Viewpoints and Suzuki with SITI Company, in Meyerhold Technique with Gennadi Bogdanov in Moscow, Grotowski training with Sergey Ostrenko in Latvia, Action Theatre with Ruth Zaporah, and stage combat with Gregory Hoffman at UNLV. She serves as the movement coordinator/choreographer for the BU Opera Institute. A specialist in dance, alignment/release techniques, Commedia dell’Arte, choreography, Viewpoints, masks, contact improvisation, and period styles, she has taught in England, Italy, Denmark, South Korea, Latvia, and extensively in the U.S. and New England. She recently published two CDs on Period Movement through Insight Media and is a founding member of Village Theatre Project, a collective of professional actors in Massachusetts. A former artistic director/choreographer/dancer with Boston Dance Collective (1975–2000), she was awarded a Massachusetts Artist Foundation Fellowship grant (1980) and Finalist award (1986). She has choreographed for OperaBoston, the Los Angeles Shakespeare Company, Huntington Theatre Company, North Shore Music Theatre, Actors Shakespeare Co., Merrimack Repertory Theatre, Boston Playwrights’ Theatre, Stoneham Theatre, Viborg Kulture Festival, Denmark, and Kwachon Madangkuk Festival in South Korea. She is a member of ATHE/ATME and website coordinator for


Jean Krafka Wolski

Jean Krafka Wolski has been a member of ATME since the mid-1990s and has served tirelessly as editor for the biannual newsletter, ATME News, since spring 1999. She has been teaching theatre arts for over thirty years, 
and has been a member of Eastern Illinois University’s faculty since 1993. As an undergraduate, she double majored in Music/Vocal Performance and Theatre at the University of Northern Iowa. She earned her Master’s degree from the University of Iowa in Performance Studies, and her 
doctorate from Michigan State University. She also serves on the editorial board for ATME’s new digital kinetic journal, and has volunteered as a mentor for new faculty. Dr. Wolski has worked as a director and/or choreographer on numerous productions, including Cole, As You Like It, Dancing at Lughnasa, L’histoire du Soldat, and Medea. When not at the theatre, she can be found in tap and Irish dance 
classes, exploring lighthouses, at Michigan State sporting events, or, whenever possible, in Ireland.

Dr. Wolski’s remarks: I am honored to be selected for this year’s ATME Service Award. Working on ATME News has been a labor of love, and over the past ten years, I feel I’ve gained more than I’ve given. When I first started on the newsletter, “cut and paste” involved the use of actual scissors and glue, so I think it is fair to say that the newsletter has given me the opportunity to hone my computer skills. And the move this year to the online version of the newsletter has opened up so many possibilities for us, that I am excited to explore how far we can push the envelope. But the greatest benefit for me has been from the many contacts I’ve made with members of the movement community. The wide range of talent evident in the article submissions, the collegiality of the various board members over the years, and the supportive attitude of the membership have been a source of inspiration for me in my own teaching, directing, and choreography. Thank you for this great honor.


Joann Browning

Joann Browning is Professor of Theatre at the University of Delaware. She serves as Associate Chair and Associate Director of the Professional Theatre Training Program (PTTP), teaching movement and dance to graduate actors. She is resident choreographer for PTTP productions and the Resident Ensemble Players (REP), UD’s resident professional theatre company. Trained as a dancer with her BFA and MFA in Dance from Southern Methodist University, she has been a member of the Kathyrn Posin Dance Company in New York, James Sutton & Dancers, Repertory Dance Company of the Southwest, Milwaukee Dance Theatre, Dancers Unlimited, and Thunderclap Productions. She has served as choreographer/musical stager for theatrical productions at Delaware Theatre Company, Philadelphia’s Enchantment Theatre, and Houston’s Alley Theatre, as well as guest teaching artist for the Utah Repertory Dance Theatre, Milwaukee Ballet, Kansas State University, University of Nebraska, University of Wisconsin-Madison, and the American College Dance Festival. She has conducted workshops for non-actors utilizing the work of Rudolph Laban and Francois Delsarte in London, Japan, Thailand, and for The Voice Foundation in Philadelphia. Professor Browning was formerly the Acting Associate Dean of Fine Arts and Head of Dance at the University of Wisconsin-Milwaukee, and prior to that was a faculty member in the Dance Division at Southern Methodist University. She has served as a theatre and dance grants adjudicator for the Maryland State Arts Council, the Delaware Division of the Arts, and the Wisconsin Arts Board. She has been a member of ATME from its inception, and served as secretary from 2003-2006.


Bruce Lecure

Bruce Lecure holds the rank of Professor at the University of Miami. His movement curriculum includes: basic movement skills for the actor, physical characterization, unarmed combat, weapons, period style movement, and mask work. Recently, Mr. Lecure created the “Actor’s Biomechanics Lab” for use in his curriculum, the first technology-based lab of its kind in theatre movement education. In 2004, Mr. Lecure was awarded the University of Miami’s “Excellence in Teaching Award”. His has a varied career as an actor, teacher, author, movement coach, fight director, and stage director. Mr. Lecure is a member of SSDC, the Society of Stage Directors and Choreographers, the professional union for stage directors. He is also a member of AEA, SAG, and AFTRA having appeared on stage, as well as in national and regional commercials, industrial films, and voiceovers throughout the country. Mr. Lecure is a Certified Teacher and Certified Fight Director with the Society of American Fight Directors (SAFD. He has published over twenty articles on theatre movement in Theatre Topics, Teaching Theatre, Southern Theatre, The ATME News, Stage Directions, and The Fight Master.


Denise Gabriel

Denise Gabriel's (Movement) work at ASF includes Macbeth, Proof, The Comedy of Errors, Steel Magnolias, Titus Andronicus, The Secret Garden, Disguises, A Christmas Carol and Lilly's Purple Plastic Purse. Ms. Gabriel has taught in graduate acting programs and coached actors since 1976. She came to ASF from being guest artist/Fellow of the Seminar at Schloss Leoploldron, Salzberg, Austria, coaching a production of Chekov's Three Sisters. She is a founding Board Member for the Association of Theatre Movement Educators and recipient of the 2000 ATME-ATHE Service Achievement Award. She has worked in New York; Shanghai, China; and a host of University productions across the country including A Raisin in the Sun with Dipunkar Mukherjee, Pangea World Theatre, Minneapolis. Ms. Gabriel's regional credits include The Comedy of Errors and A Midsummer Night's Dream at The Old Globe Theatre, San Diego; Romeo and Juliet at Clarence Brown Theatre with director Paul Barnes; and Alchemy of Desire, Dead Man's Blues, and King Lear at Cincinnati Playhouse in the Park with director Ed Stern. As well as being a member of the ASF resident artistic staff Ms. Gabriel is on the ASF/ MFA Faculty.


Jennifer Martin

Jennifer Martin (Hall Family Foundation Professor of Theatre) teaches movement fundamentals, historical styles of movement and dance, characterization and subtle energy disciplines for the Master of Fine Arts program. As a member of the Medical Humanities Program she coordinates a course called "Healing and the Arts." She is resident choreographer and movement coach for the Heart of America Shakespeare Festival. Her choreographic work has been seen at Missouri Repertory Theatre, Seattle Repertory Theatre, Northlight Theatre, Ford’s Theatre, Goodspeed Opera House and Masterworks Lab Theatre in New York. She is a founding board member of The Association of Theatre Movement Educators.


Marcia Joy Douglas

Marcia Joy Douglas is a director, actor, choreographer, and educator. She joined the faculty of the University of Maine in 1999 where she teaches acting, improvisation, movement, and voice, and currently serves as Chair of the Theatre/Dance Division in the School of Performing Arts. She has an MA in Directing from the University of Washington, and an MFA in Acting from Southern Methodist University in Dallas. She has taught at the University of Kansas, the University of Nebraska, Illinois State University, and Southwest Missouri State. In addition to directing, choreographing, and acting in well over 200 productions, she has also taught workshops and performed her one woman improvisational show nationally and internationally. In addition to her work in theatre, she is also a Reiki Master and has taught workshops on healing and energy since the early 1970s. Marcia was part of the Movement Program for the former American Theatre Association (ATA) and has been active with ATHE, ATME, and KCACTF since 1994. She was the ATME Focus Group Representative to ATHE for 4 years from 1996-2000, as well as Treasurer from 1998-2003.

ATME Visiting Artist/Scholar Fellowship


Rebecca VerNooy

“MERGE: Movement Educators Research Group Exploration”


Jef Awada

“The Clown in Actor Training: The What, The How, and the Why”


Erika Berland, Rebecca VerNooy, Judith Chaffee

“MERGE: Movement Educators Research Group Exploration”


Sarah Romersberger

“MBA: An Inquiry Into the Intersection of Mind, Body, and Acting”


Bethany Urban

“Hook-ups and Hang-ups: College Students Speak Out,” visiting artist residency, Denison University, Granville, OH


Cara Rawlings

“The Society of American Fight Directors 2010 Teacher Training Workshop”


Jeff Casazza

“Accademia dell’Arte Summer Symposium,” in Arezzo, Italy, working with European theatrical masters


Tammy Meneghini

“The Goddess Here: Women of Choice,” Solo Performance and Outreach Collaboration


Yoav Kaddar

“Lighting in a Bottle: Digital Documentation of Live Performance”


Marianne Kubik

“Pilobolus Choreographic Workshop”

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