PAT HAS TAUGHT WHERE ?
PAT HAS DEGREES ?
PAT HAS TAUGHT WHAT ?
MFA in Theatre
Professional Theatre Training Program
University of Wisconisin-Milwaukee
BA in Theatre
Acting for the Camera
Authenticity in Acting
Body Awareness for the Performer
Movement for the Actor
Movement for the Improvisor
Shakespearean Text Analysis
Suzuki Training for the Actor
Vocal Power for the Improvisor
PAT HAS BEEN TAUGHT BY WHOM ?
Sanford Robbins Chair, Professional Theatre Training Program, UW-Milwaukee
Artistic Director, Resident Ensemble Players, Univ. of Delaware
Leslie Reidel Co-Chair, PTTP, UW-Milwaukee, Univ. of Delaware
Artistic Director, Enchantment Theatre Company
Jewel Walker Head of Movement, PTTP, UWM, Head of Acting, Univ. of Delaware
America's foremost trainer of Stage Movement
Susan Sweeney Voice & Speech, UW-Milwaukee, UW-Madison
Voice & Text Coach, American Players Theatre
Tadashi Suzuki Founder/Artistic Director, Suzuki Company of Toga
Creator of the Suzuki Method of Actor Training
Kayoko Shiraishi Lead Actress, Suzuki Company of Toga
Declared World's Greatest Actress, Time Magazine
Heinz Uwe-Haus Director, Deutsches Theatre Berlin
Leading authority on Bertolt Brecht
John Broome Movement Choreographer, Royal Shakespeare Company
Movement Choreographer, Stratford Festival of Canada
Robert Benedetti Chairman, Acting Program, Yale University
Dean of Theatre, California Institute of the Arts
Bobby McFerrin Voice Musician, Singing Coach
Ten Time Grammy Winner
Howard Jensen Head of Acting and Directing Program, Indiana University
Founding Member, Utah Shakespearean Festival
Mick Napier Founder/Artistic Director, Annoyance Theatre, Chicago
Director/Artistic Consultant, The Second City, Chicago
WHAT IS PAT'S TEACHING PHILOSOPHY ?
Always a fun question because it's usually difficult for me to answer. If I am to be frank I would say that I don't really have one. Effective ways of teaching performance can vary from student to student, from style to style, and what works well for one may not work as well for another... and I'm always about doing what works. But if pressed to have one my best answer would be this: Learn how to work the tools and have fun.
What does that mean? In any performance class my lessons take a deep dive into exploring that thing, that instrument, that tool that we use to do our work: The Human Body.
In this age where most of the acting we experience is mediated (ie. delivered through the media rather than live) actors often do not have the inclination to fully examine the entirety of their instrument as most mediated acting comes from torso shots or close ups. This has led, in my humble opinion, to the average student studying that which serves the camera. Which is fine, but which can ignore other gifts the performer has to offer simply because the tools have been unexplored.
What is the instrument, what does it do, what makes it work, what sounds can it make, what is the extent of its movement, what parts communicate what emotions, how do different parts communicate different meanings to the audience, how can it be used to explore new possibilities of character, how can the simplest of movements communicate the complexities of the human experience... What is this thing and how can we use it to tell our stories?
This study into what our instrument is deepens any performer's exploration in becoming better at what they do no matter their training or experience. And it is as useful to actors in front of the camera, behind the voice-over mic, or on stage. This is the journey of the classes I teach.
And lest we forget the last part: 'have fun.' This shouldn't be mistaken as an invitation to frivolity. I am a fan of the game of Football. I played it when I was younger and had a BLAST playing it. But... it was also grueling work, required study and precision, demands teamwork even as it celebrates stardom. THIS is the kind of fun I'm talking about. If football doesn't do it for you, think of river rafting: the paddling is grueling, requires precision and concentration, needs the team to work together... and what a joy it is when you get to the end of the river.
The best performances come from hard work, but that work can be some of the most fun a performer can experience in their life. The classes I teach, from those for the group or the individual, are designed to be clear of judgement, distraction, and fear, to create for the student a space where their learning can be a blast even in the middle of their most difficult work.
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Here... have a look at this quote to see the kind of power that this kind of study can lead to:
"The marquee poster for the night I arrived read: 'Das Leben von Galilei.' I didn't speak a word of German, and I knew only one Brecht play, 'The Threepenny Opera,' so I thought I was about to see something called 'The Good Fisherman of Galilee.' 'The Life of Galileo' (the actual title) lasted over four hours. I couldn't make out a word, and yet I understood almost everything. 'How is that possible?' you might ask. Here's how: Every moment onstage was fully explored; every gesture told not one story but everything important about that story: where the characters came from, what their economic circumstances were, what the dynamics between them signified. They had rehearsed over a long period of time, so that each event (a word I'll talk more about later), every piece of the story rang dear and, somehow, became universal." - Andre Gregory
He didn't know a word of German, but he understood almost everything. "Every movement onstage was fully explored; every gesture told not one story but everything important about that story... what the dynamics between them signified."
The mastery of the human instrument to be fully engaged in the story telling is what my work is all about.
Learn how to work the tools and have fun.