What Is My Kind of Theatre?           It is a kind of wedding cavalcade, where I try to marry everyone to everyone; It is a theatre that works in an epic-intimate alloy of tragedy and comedy, of absurdity and naivety, of cruelty and gentleness; It is a theatre which escapes definition and the unequivocal understanding of its actions, as from attempts to usurp its freedom.      Slava Polunin, internationally renowned clowning master            I have been a theatrical educator focusing on non-western approaches to acting and voice work, specializing in physical comedy for over 10 years. It is my belief that communication is 90% physical and the voice should be used only if their is no other way to "say" it. We can tell someone that we "love them", "hate them", "admire them" in any number of ways but it is the way in which we physicalize it that communicates it's truth. As an educator, it is my passion to assist students of all backgrounds, shapes, colors, and sizes to find the link between physical and vocal expression using both newer and older methods, typically unfamiliar to the American acting training institution.       My formal training, like most Americans, comes in the form of the more modern Stanislavsky inspired methods such as Meisner, Strasberg, and Hagen, among others. And while I often use these methods to help bridge the gap of introducing new vocabulary, it is my focus to get students toward a more universal base of expression that has existed since the beginning of time. Methods that are physically experienced before analyzed, rather than intellectually thought through in order to influence the experience.    As a physical comedy professional I have 14 years of gymnastics training (Elite level), worked for Ringling Brothers midwest regional touring show, am trained by some of the most revered physical comedy troupes and professionals in Lecoq, Laban, Commedia del Arte, (Theatre de la Jeune Lune, David Bridal & Richard Crawford) Viewpoints and Composition (Anne Bogart & Tracy Bersley), Balinese; Roman planets; Neutral; Commedia mask (Per Brahe), as well as clown, circus, farce (The Flying Machine ) and many forms of stage combat and acrobatics (Felix Ivanov)      My teaching methodology gives priority to a person-centered approach that is respectful of each individual's path towards discovering his or her own performer. Unlike many forms of training that encourage a universal body and voice, my work is fully inclusive. By focusing on the individual's experience, I prioritize authenticity in the learning process while also developing movement vocabulary such as trips, slips, slaps and pratfalls, running into walls and doors, slapstick with props, solo and partner acrobatics, and developing routines of lazzi inclusive of all body types. Focusing on training the mind and attitude of the performer to transform their work from simple silly gags, into something genuinely funny, profound, and repeatable. My work aims to improve body control and concentration, enhance stage presence adding grace and depth to movement and voice, encouraging actor as creator, embodying a character in a fully transformative way, and developing a sense of humor.    For me, comedy is the primary genre that can address and speak universally of the social and personal issues in our lives. And is rewarded with the only truly involuntary reaction, laughter.     CV provided upon request. Please email kristy.dodson@gmail.com
       
     
Red Noses at Princeton University
       
     
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Metamorphosis at City Lights Youth Theatre
       
     
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   What Is My Kind of Theatre?           It is a kind of wedding cavalcade, where I try to marry everyone to everyone; It is a theatre that works in an epic-intimate alloy of tragedy and comedy, of absurdity and naivety, of cruelty and gentleness; It is a theatre which escapes definition and the unequivocal understanding of its actions, as from attempts to usurp its freedom.      Slava Polunin, internationally renowned clowning master            I have been a theatrical educator focusing on non-western approaches to acting and voice work, specializing in physical comedy for over 10 years. It is my belief that communication is 90% physical and the voice should be used only if their is no other way to "say" it. We can tell someone that we "love them", "hate them", "admire them" in any number of ways but it is the way in which we physicalize it that communicates it's truth. As an educator, it is my passion to assist students of all backgrounds, shapes, colors, and sizes to find the link between physical and vocal expression using both newer and older methods, typically unfamiliar to the American acting training institution.       My formal training, like most Americans, comes in the form of the more modern Stanislavsky inspired methods such as Meisner, Strasberg, and Hagen, among others. And while I often use these methods to help bridge the gap of introducing new vocabulary, it is my focus to get students toward a more universal base of expression that has existed since the beginning of time. Methods that are physically experienced before analyzed, rather than intellectually thought through in order to influence the experience.    As a physical comedy professional I have 14 years of gymnastics training (Elite level), worked for Ringling Brothers midwest regional touring show, am trained by some of the most revered physical comedy troupes and professionals in Lecoq, Laban, Commedia del Arte, (Theatre de la Jeune Lune, David Bridal & Richard Crawford) Viewpoints and Composition (Anne Bogart & Tracy Bersley), Balinese; Roman planets; Neutral; Commedia mask (Per Brahe), as well as clown, circus, farce (The Flying Machine ) and many forms of stage combat and acrobatics (Felix Ivanov)      My teaching methodology gives priority to a person-centered approach that is respectful of each individual's path towards discovering his or her own performer. Unlike many forms of training that encourage a universal body and voice, my work is fully inclusive. By focusing on the individual's experience, I prioritize authenticity in the learning process while also developing movement vocabulary such as trips, slips, slaps and pratfalls, running into walls and doors, slapstick with props, solo and partner acrobatics, and developing routines of lazzi inclusive of all body types. Focusing on training the mind and attitude of the performer to transform their work from simple silly gags, into something genuinely funny, profound, and repeatable. My work aims to improve body control and concentration, enhance stage presence adding grace and depth to movement and voice, encouraging actor as creator, embodying a character in a fully transformative way, and developing a sense of humor.    For me, comedy is the primary genre that can address and speak universally of the social and personal issues in our lives. And is rewarded with the only truly involuntary reaction, laughter.     CV provided upon request. Please email kristy.dodson@gmail.com
       
     

What Is My Kind of Theatre?

 It is a kind of wedding cavalcade, where I try to marry everyone to everyone; It is a theatre that works in an epic-intimate alloy of tragedy and comedy, of absurdity and naivety, of cruelty and gentleness; It is a theatre which escapes definition and the unequivocal understanding of its actions, as from attempts to usurp its freedom.

Slava Polunin, internationally renowned clowning master     

I have been a theatrical educator focusing on non-western approaches to acting and voice work, specializing in physical comedy for over 10 years. It is my belief that communication is 90% physical and the voice should be used only if their is no other way to "say" it. We can tell someone that we "love them", "hate them", "admire them" in any number of ways but it is the way in which we physicalize it that communicates it's truth. As an educator, it is my passion to assist students of all backgrounds, shapes, colors, and sizes to find the link between physical and vocal expression using both newer and older methods, typically unfamiliar to the American acting training institution.   

My formal training, like most Americans, comes in the form of the more modern Stanislavsky inspired methods such as Meisner, Strasberg, and Hagen, among others. And while I often use these methods to help bridge the gap of introducing new vocabulary, it is my focus to get students toward a more universal base of expression that has existed since the beginning of time. Methods that are physically experienced before analyzed, rather than intellectually thought through in order to influence the experience.

As a physical comedy professional I have 14 years of gymnastics training (Elite level), worked for Ringling Brothers midwest regional touring show, am trained by some of the most revered physical comedy troupes and professionals in Lecoq, Laban, Commedia del Arte, (Theatre de la Jeune Lune, David Bridal & Richard Crawford) Viewpoints and Composition (Anne Bogart & Tracy Bersley), Balinese; Roman planets; Neutral; Commedia mask (Per Brahe), as well as clown, circus, farce (The Flying Machine ) and many forms of stage combat and acrobatics (Felix Ivanov)  

My teaching methodology gives priority to a person-centered approach that is respectful of each individual's path towards discovering his or her own performer. Unlike many forms of training that encourage a universal body and voice, my work is fully inclusive. By focusing on the individual's experience, I prioritize authenticity in the learning process while also developing movement vocabulary such as trips, slips, slaps and pratfalls, running into walls and doors, slapstick with props, solo and partner acrobatics, and developing routines of lazzi inclusive of all body types. Focusing on training the mind and attitude of the performer to transform their work from simple silly gags, into something genuinely funny, profound, and repeatable. My work aims to improve body control and concentration, enhance stage presence adding grace and depth to movement and voice, encouraging actor as creator, embodying a character in a fully transformative way, and developing a sense of humor.

For me, comedy is the primary genre that can address and speak universally of the social and personal issues in our lives. And is rewarded with the only truly involuntary reaction, laughter.

CV provided upon request. Please email kristy.dodson@gmail.com

Red Noses at Princeton University
       
     
Red Noses at Princeton University
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Metamorphosis at City Lights Youth Theatre
       
     
Metamorphosis at City Lights Youth Theatre
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