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In every scene or monologue there’s a moment where the story turns: a fulcrum or a climax.One of the best ways to shape a scene or unlock a character’s journey through a play is to find these moments, make the most of them, and shape everything else according to these choices.He has pursued integrative techniques that connect body, mind, emotion, and spirit to the various aspects of spatial and interpersonal relationships on stage.
He trained at The Juilliard School and with The Barrow Group.
He has written adaptations and plays that have been produced at regional theatres, universities, and filmed for Public TV including .
Edward has worked as a teacher and guest artist at numerous graduate and undergraduate programs and frequently conducts master classes.
As actors, we tend to concentrate on the text, our partners, and whatever basic blocking we discover or are given in the process of staging.
Yet sometimes the key to a fresh, genuine experience of a scene can come through adding another layer of activity or behavior, whether realistic or non-realistic.
We will work physically, vocally, emotionally, and interpersonally.