DAVID CHARLES GOYETTE Director, Teacher, Playwright, Producer Chicago, Il dcg AT davidcharlesgoyette.com http://www.davidcharlesgoyette.com/ EDUCATION: The University of Texas at Austin (2003), MFA Theatre and Dance, Directing Austin, TX Studied with: Michael Bloom, Pamela Christian, Fran Dorn, Lucien Douglas, Stephen Gerald, Lee Abraham, Jim Hancock, Susan Tsu, Oscar Brockett, Stacy Wolf Thesis: Bertolt Brecht’s Caucasian Chalk Circle: Directorial Research, Approach, Implementation and Evaluation Carnegie Mellon University (1997), BFA in Drama, Directing Pittsburgh, PA Studied with: Gregory Lehane, Mladen Kiselov, Jed Allen Harris, Geoffrey Hitch, Barbara McKenzie Wood, Don Wadsworth, Janet Morrison, Victoria Santa Cruz ADMINISTRATION EXPERIENCE: Perseverance Theatre Interim Artistic Director (2007 – 2008) Juneau, AK • Developed plan for the 30th anniversary season, which included a musical, a classical play, a comedy, two new plays and a national tour to the Smithsonian Museum for the American Indian. • Maintained artistic integrity of theatre productions through production/rehearsal notes and management of artistic/production resources • Casted 5 show mainstage season • Hired national and local designers/directors for a diverse year of programming • Mediated various production and personnel issues Director of Education (2005 – 2008) Juneau, AK • Director of the Joint Professional Theatre Training Program with the University of Alaska Southeast o Negotiated inflation-proof, three year contract between University of Alaska Southeast and Perseverance Theatre o Developed new courses in Technical Theatre, Playwriting, Directing & Acting o Traveled to and recruited students from around Alaska o Worked with Humanities department faculty and administration to create a proposal for a Theatre major o Mentored and advised students in theatre coursework o Increased student involvement with the Theatre o Produced evenings of one-act plays by student directors o Directed fully staged and designed productions at the university o Worked with university staff to improve campus theatre facilities o Created 6 year plan for course sequencing and staffing o Lead/managed student/teacher conferences o Recruited, contracted and evaluated theatre instructors o Procured $300,000 endowment for theatre department programming • Producing Artistic Director of Summer Theatre Arts Rendezvous: A Youth Summer Repertory Program. o Produced Merry Wives of Windsor, Romeo & Juliet, The Woman Carried Away By The Killer Whales, The Salmon Boy, Children of Eden, Preposterous: A Mask and Puppet Show, Peer Gynt, As You Like It, Journey: A Mask and Puppet Show, and Sea of Strength o Develop budget and funding plan for summer repertory program o Worked in conjunction with Alaska Native corporations to commission and develop new work o Hired and recruited artists/teachers/directors/staff from around the nation o Create and implement marketing strategy for recruitment and ticket sales o Oversaw box office operations (including front of house & ticket sales) o Create production schedules and deadlines o Worked with design staff to develop a unified vision for all shows in season o Developed education plan for all performers • Producing Artistic Director for Perseverance Theatre’s Young Company o Produced Marivaux’s Changes of Heart, Two Gentleman of Verona, Welcome to Social Disorder Camp, Fish Out of Water and Steel Magnolias o Developed and implemented youth staffing plan o Directed one show per year o Hired and supervised guest directors o Created Parent booster club to support company in it’s development o Oversaw box office operations (including front of house & ticket sales) o Create and implement marketing strategy for recruitment and ticket sales • Other Administrative Functions o Oversaw development of Next Generation, a mentorship program for high school students interested in pursuing a career in theatre, newly funded by the SURDNA Foundation. o Produced Prologue program, which uses The Shakespeare Theatre’s Text Alive program as a model. o Created Study Guides for Twelfth Night, Hamlet & The Raven Odyssey o Lead instructor for all youth programs o Developed and implemented recruiting strategy for theatre interns, managed interview process & contracts, conducted exit interviews and supervised interns during their residency o Directed at least one mainstage production per year African Continuum Theatre Company Associate Producer (2003 – 2004) Washington, DC • Created and managed operating and production budgets for a $300,000 organization • Acted as casting director for both AEA & Non-AEA performers • Contracted artists and other administrative personnel • Negotiated AEA Small Professional Theatre contracts • Contracted playwrights both directly and through playwright representatives • Worked with board on developing and implementing a strategic plan • Oversaw box office operations (including front of house & single/group/subscription ticket sales) • Developed and implemented fundraising plan in coordination with PAD • Created design for and oversaw production of print materials for ACTCo season and individual productions • Acted as interim production manager while the PAD was directing • Created Fresh Flavas New Works Program which seeks to give voice to writers on the fringe of an already marginalized community • Directed and managed readings of new works • Directed mainstage shows The Shakespeare Theatre Directorial Assistant Washington, DC Artistic Department (1999 – 2000) • Assisted the Artistic Director and the Resident Assistant Director in handling all the Direction, Dramaturgy and Casting for a LORT B+ theatre • Selected, auditioned and screened local actors for productions • Managed script production and distribution from preproduction through postproduction • Hired and rehearsed understudies and swings • Arranged rehearsal schedule for each day and assisted the Director during rehearsals • Spaced the production during technical rehearsals • Acted as point of contact between the Director and the production staff • Oversaw contract requirements for local actors Arena Stage Script Reader Washington, DC Literary Department (1997) • Assisted the Literary Manager in new script development for a LORT B+ theatre • Analyzed and selected manuscripts to be staged • Prepared summaries and evaluated playscripts for review by the Literary Manager and other artistic personnel • Screened and assessed the quality of musical selections submitted by composers Walt Disney Pictures/ Script Reader / Production Assistant Burbank, CA Marty Katz Productions Creative Development (1996) • Researched new film ideas by using the Internet, various library resources, and intensive interviews with subject specialists • Analyzed and recommended new scripts for production • Directed the retrieval of film stock through the Walt Disney Studio archives • Administered and tracked the evaluation of new scripts submitted by literary agents UNIVERSITY TEACHING EXPERIENCE: Truman State University Assistant Professor of Theatre (2008 – Present) Kirksville, MO Missouri’s Only Highly Selective Public University • Acting I: Elements of Acting o This course is an introduction to the basics of truthful acting, using prepared and improvised exercises to explore acting techniques. o Moment to moment acting, emotional availability and the act of really doing are explored. o Techniques of Meisner, Stanislavsky, Laban and Bogart among others are also explored. • Meisner Technique and Advanced Scene Study o This course uses Sanford’s Meisner’s repetition exercises as a way into advanced scene study and emphasizes responding to what is actually going on with the student’s scene partner. • Play Direction o An Introduction to the directing process occurs through discussion and investigation of dramaturgy, script analysis, and scene work. o Students participate in exercises designed to bring out creative impulses, and develop their ability to approach projects with a vision. o An examination of stage composition and usage of action verbs when working with actors comprise the focus of the course. o Student learning culminates in a festival of student directed one-act plays. • Musical Theatre o This course is a critical study of the musical theatre form starting from Ancient Greece all the way through present day, examining modern works being produced on Broadway and/or in regional theatres. o Students are required to research critical works and past productions, write analytically, and present/perform. • History of Theatre I o Integrated study of dramatic literature and theatre history from ancient Greece to the early Renaissance, examined in the context of important cultural trends of these periods. • History of Theatre II o Integrated study of dramatic literature and theatre history from Renaissance to Romanticism, examined in the context of important cultural trends of these periods. • Introduction to the Theatre Arts o A general introduction to the art of theatre, surveying basic categories and structures of dramatic literature and theatre history as met by principles and problems of theatre production. University of Alaska Southeast Director of the Joint Theatre Training Program with Perseverance Theatre Juneau, AK Adjunct Instructor (2005 – 2008) • Acting I o This course is an introduction to the basics of truthful acting, using prepared and improvised exercises to explore acting techniques. o Moment to moment acting, emotional availability and the act of really doing are explored. o Techniques of Meisner, Stanislavsky, Laban, Bogart, among others are also explored. • Acting II o This course is a rigorous acting class that bridges the gap between emotional availability and using that availability in a prepared scene. o Students will learn about actions, objectives, given circumstances, obstacles and other tools useful to the actor when preparing a role. o Preparation and participation in Theatre lab, a staged production of a play, is a requirement for the course. • Style o Beyond learning period specific salutations, physical stances, and stage business, this course also exposes the student to various works of Greek Tragedy, Shakespeare, Brecht, Chekov, Farce and High Comedy (Shaw, Wilde, etc) and how the action of the character is channeled through the style of the play. o Course culminates in public performances of each style explored. • Role Study o The course integrates the student into the professional theater environment. o Students study and prepare a role from a play (research, memorization, table work, emotional work). o They later attend rehearsals for a professional production of that play, and take on the role of understudy. o As a final project the student performs in a run-through of the show with professional actors. o Topics include: Actor's Tools (Action, Objective, Given Circumstances, Obstacle, Stakes), Character History, Creative Response, Dramatic Critique, Dramaturgical Research, Endowing, Personalization, Play Analysis, Rehearsals, Table Work and Use of Language • Text Analysis o This course uses various techniques to examine eight different plays, using Northrop Frye’s Anatomy of Criticism, traditional script analysis techniques, dramaturgical research, creative response, etc. o Most recently we examined The Game of Love and Chance by Marivaux (adapted by Stephen Wadsworth), William Shakespeare’s Much Ado About Nothing, Stuff Happens by David Hare, Yellowman by Dael Orlandersmith, Glengarry Glenn Ross by David Mamet, Long Christmas Ride Home by Paula Vogel, Lobby Hero by Kenneth Lonergan, Kimberly Akimbo by David Lindsay Abaire • Master Acting Class: Scene Study o This course is an intensive examination of the actor’s most crucial segment of study in the acting process: scene work. o The class is designed to provide the student with concentrated practical application of scene study technique while receiving consistent feedback and direction o The course occurs over the course of two weeks for a total of 40 hours of class time • Directing I o An Introduction to the directing process occurs through discussion and investigation of dramaturgy, script analysis, and scene work. o Requirements include assistant directing and creating a final project. o Students participate in exercises designed to bring out creative impulses, and develop their ability to approach projects with a vision. o An examination of stage composition and usage of action verbs when working with actors comprise the focus of the course. • Directing II o Practical application of directing technique as studied in Directing I is continued. o Students engage instructor through seminar and discussion, and direct a one-act play. o Requires assistant directing with Perseverance Theatre as a part of the class. o Topics Include: Action Analysis, Advanced Directing Theory, Archetypal Criticism, Casting, Design Process, Developing an Approach, Rehearsal Process, Scheduling and Style • Playwriting I o Explores the technique, structure and imagination necessary to write a play. o Students engage in exercises designed to spark creativity, and finish the class by writing a one-act play. o Topics include: Beats & Action, Character (Objectives, Transformation, Given Circumstances, Status, Character Attributes, etc…), Dialogue (Overt Meaning, Subtext, etc..), Dramatic Question, Event Structured Scene versus character structured scene, Genre (Docudrama, Adaptations, etc…), Imagery, Large Cast versus Small Casts, Location, Negotiation and Conflict, Ritual & Mystery, Stasis, Intrusion, Battle for New Stasis, Structure (Exposition, Story, Plot, Subplot, Inciting Incidents, Climax, etc…), Theatrical Form (Monologue, Stage Directions, etc…) and Vision (Finding and Developing an Idea) • Theatre Appreciation and Principles o Enables students to understand movement, drama and theater through the study of drama and the major works of Western theatre. o Topics include: What is theatre? (Imitation, Role Playing, Ritual, Metaphor), Theatre History (Greek, Roman, Medieval, Elizabethan, Eastern, French, German, African, Russian, Ensemble-based, Modern Drama), Theatre in Historical Context (Relationships between art and society), Dramatic Structure and Terminology (Climactic versus Episodic, Dramatic Devices, Character Archetypes), Theatre’s Major Genres (Musical Comedy, Opera, Realism, Melodrama, Avant-Garde, Comedy, Tragedy, Farce, Classical versus Contemporary), Process of Making Theatre, Acting (Styles, Major Teachers), Directing (Role of Director, Auteur versus Interpreter, Major Directors), Designing (Environment, Stage Spaces, Design Areas, Major Designers), Producing (Regional Theatre, Broadway, Not-for-profit, Stage Managing, Arts Administration), Evaluating a Theatrical Experience (Descriptive versus prescriptive, Identifying criteria, Fact versus opinion) • Practicum & Internships o This course consists of participation in drama workshop or lab production as a performer or technical staff member. o The instructor supervises students and develops goals and learning outcomes for these practical-application oriented courses • Drama in the K-8 Curriculum o This course seeks to develop knowledge, skills, and attitudes needed to teach drama in an elementary school with a focus on state and national standards for the arts. o Students develop an understanding of the unique importance of drama in society and in the general elementary curriculum. o We focus on teaching drama in the elementary classroom, including lesson management, material safety, curriculum development, and evaluation, and developmental stages of aesthetic cognition in elementary age children. o The course supports the development of interdisciplinary, standards-based curriculum design and instructional practices which facilitate the learning of diverse elementary students. George Washington University Guest Lecturer (2004) Washington, DC • Introduction to Acting o An examination of Effort Analysis within the Laban Movement School and minor exploration in Viewpoints. The University of Texas at Austin Assistant Instructor (2002-2003) Austin, TX • Fundamentals of Acting (for Non-Majors) o Basic principles of acting and practical work in scenes from plays. • Acting I o Fundamental inquiry into the acting process o Improvisational approaches to the playing of dramatic action. • Acting II o Fundamental techniques of character analysis and portrayal. The University of Texas at Austin Teaching Assistant (2000-2001) Austin, TX • Stage Management - assisted Rachel Durkin Drga o Coursework focuses on the organizational skills needed for a successful stage manager. o Topics/Activities include completion of prompt script, creation of all forms and schedules necessary, working with actors, directors and designers, rehearsal process, pre-production process, technical rehearsals and duties during performance. • Acting III - assisted Stephen Gerald o Investigation into the collaborative process of the actor and the director, with emphasis on structure, action, theme, and plot. • Senior Seminar - assisted Amparo Garcia Crow o A cross-cultural examination of theatre literature and the artist in society. OTHER ADULT TEACHING EXPERIENCE: The Shakespeare Theatre Guest Lecturer (2004) Washington, DC • Audition Technique o Topics include Agents, Apprenticeships, Auditions, Casting directors, East Coast versus West Coast, Film, Graduate Schools, Headshots, Industrials, Goal setting, Internships, Interviews, Mailings and follow-up, Regional theatre, Résumés, Television and Unions. Freelance Instructor Monologue Coaching (1998 – Present) Washington, DC YOUTH TEACHING EXPERIENCE: Yaakoosgé Daakahídi Alternative High School Adjunct Teacher (2005) Juneau, AK Playwriting Class • Taught playwriting techniques using the 52nd Street Project model • Produced a reading of student work using professional actors and directors The Shakespeare Theatre Southeast Project Guest Artist (1999) Washington, DC • Worked with disadvantaged African American youths to write plays that seek empowerment. • Directed other professionals in a full production of a student’s work Kid’s Acting Camp Shakespeare Technique (1999) Arlington, VA • Topics include: English History, Elizabethan Culture, Elizabethan Stage Forms, Heightened Language, Verse Analysis, Prose Analysis, Structure, Meter, Iambic Pentameter, Rhythm, Imagery, Sound, Table Work and Scene Work Barbizon School of Modeling Guest Lecturer (1996) Pittsburgh, PA Acting Program • Taught techniques on acting for the camera & commercial auditioning Dobson High School Assistant Coach (1991-1993) Mesa, AZ Forensics Program • Worked with students to hone their skills for Forensics competitions • Emphasized Humorous, Dramatic, Duo, Prose & Poetic Interpretation • Coached the team to a 2-time state championship with numerous individual awards • Directed a play which took 1st place at three one-act play competitions DIRECTING EXPERIENCE: REGIONAL The Packer Rob Smith American Theatre Company/Big Shoulders Festival 2009 Long Christmas Ride Home Paula Vogel Perseverance Theatre Rock Star (in development) PJ Paparelli & Rory Stitt Perseverance Theatre Hedwig and the Angry Inch John Cameron Mitchell & Stephen Trask Perseverance Theatre/Alaska Tour Hedwig and the Angry Inch – Revival John Cameron Mitchell & Stephen Trask Perseverance Theatre King Island Christmas, An Oratorio David Friedman & Deborah Brevoort Perseverance Theatre Speech and Debate Stephen Karam Perseverance Theatre The Story Tracey Scott Wilson African Continuum Theatre Company A Lesson Before Dying Romulus Linney African Continuum Theatre Company Based on the Novel by Ernest J. Gaines Draft Day (Reading) Marvin McAllister African Continuum Theatre Company UpCity Service(s) (Reading) Dominic Taylor Kennedy Center/African Continuum Theatre Company Fur and Other Dangers Allyson Currin Source Theatre Company Phones On The Bus Joe McCabe Source Theatre Company Character Assassination Adam Goldberg Source Theatre Company Yesterday’s Window Chiori Miyagawa Source Theatre Company/Tsunami Theatre Company A Tree Telling of Orpheus Denise Levertov Kennedy Center/Tsunami Theatre Company Trying To Find Chinatown David Henry Hwang Kennedy Center/Tsunami Theatre Company FOB David Henry Hwang Tsunami Theatre Company Perdita (Reading) Monika Bustamante Hyde Park Theatre Little Shop of Horrors Howard Ashman & Alan Menken Fredericksburg Theatre Company Room Service John Murray & Allen Boretz Little Theatre of Alexandria The Boys Next Door Tom Griffin Dominion Stage Biloxi Blues Neil Simon Dominion Stage UNIVERSITY A Midsummer Night’s Dream William Shakespeare Truman State University columbinus United States Theatre Project Truman State University Dog Sees God Bert V. Royal University of Alaska Southeast Recent Tragic Events Craig Wright University of Alaska Southeast Landscape of the Body John Guare University of Alaska Southeast Rockaby Samuel Beckett The University of Texas at Austin Caucasian Chalk Circle Bertolt Brecht The University of Texas at Austin Translated by Ralph Manheim Burn This Lanford Wilson The University of Texas at Austin Changes of Heart (La Double Inconstance) Pierre Carlet de Chamblain de Marivaux The University of Texas at Austin Translated by Stephen Wadsworth Miss Julie August Strindberg The University of Texas at Austin Translated by Ingmar Bergman Stonewater Rapture Doug Wright The University of Texas at Austin Holes (Reading) Viengvilay Oudonesom The University of Texas at Austin A Doll’s House Henrik Ibsen Carnegie Mellon University Translated by Brian Johnston King Lear (Abridged Version) William Shakespeare Carnegie Mellon University House of Sleeping Beauties David Henry Hwang Carnegie Mellon University Song of Death Tewfik El Hakim Carnegie Mellon University Crossing the Bar Don Negro Carnegie Mellon University Brighton Beach Memoirs Neil Simon Carnegie Mellon University THEATRE FOR YOUTH Twelfth Night William Shakespeare Perseverance Theatre PROLOGUE Program Much Ado About Nothing William Shakespeare Perseverance Theatre PROLOGUE Program Two Gentlemen of Verona William Shakespeare Perseverance Theatre Young Company A Midsummer Night’s Dream William Shakespeare Perseverance Theatre Young Company Changes of Heart (La Double Inconstance) Pierre Carlet de Chamblain de Marivaux Perseverance Theatre Young Company Translated by Stephen Wadsworth ASSISTANT DIRECTING Slow Dance On The Killing Ground William Hanley Everyman Theatre Company Jennifer L. Nelson Pavilion Craig Wright Everyman Theatre Company Jennifer L. Nelson The Merchant Of Venice William Shakespeare The Shakespeare Theatre Michael Kahn Coriolanus William Shakespeare The Shakespeare Theatre Michael Kahn King Lear William Shakespeare The Shakespeare Theatre Michael Kahn A Midsummer Night’s Dream William Shakespeare The Shakespeare Theatre Joe Calarco The Merry Wives of Windsor William Shakespeare The Shakespeare Theatre Daniel Fish Love Letters (w/ Hal Holbrook & Dixie Carter) A.R. Gurney The Shakespeare Theatre PJ Paparelli A Streetcar Named Desire Tennessee Williams The Keegan Theatre Steven Mazzola Falsettos William Finn Pittsburgh Public Theatre Ted Pappas The Who’s Tommy Pete Townshend Carnegie Mellon University PJ Paparelli Pippin Stephen Schwartz Carnegie Mellon University PJ Paparelli Once In A Lifetime Moss Hart & George S. Kaufman Carnegie Mellon University Gregory Lehane Stonebutch Sara Beth Sclove Carnegie Mellon University Daniella Topol Sable Skin of the Hottentot Venus Sybil Lyn Berry Carnegie Mellon University Leslie Kniskern How To Murder A Man Pittsburgh Theatre Lab Daniella Topol TELEVISION / VIDEO / INDUSTRIAL EXPERIENCE Latin America Regional Meeting MasterCard International Stage Presentation CTC 1940s Stamp Launch United States Postal Service Stage Presentation Alone Together by Colin Doty WQED, Pittsburgh - TV Television Theatre Program Recruitment University of Alaska Southeast / Perseverance Theatre Video Stalemate Independent Video Project Video Vials MedImmune, Inc Video DANCE CHOREOGRAPHY EXPERIENCE: A Midsummer Night’s Dream William Shakespeare Truman State University David Charles Goyette, Director Hedwig and the Angry Inch John Cameron Mitchell & Stephen Trask Perseverance Theatre/Alaska Tour David Charles Goyette, Director Speech and Debate Stephen Karam Perseverance Theatre David Charles Goyette, Director Dog Sees God Bert V. Royal University of Alaska Southeast David Charles Goyette, Director Caucasian Chalk Circle Bertolt Brecht The University of Texas at Austin David Charles Goyette, Director FIGHT CHOREOGRAPHY EXPERIENCE: Skin of Our Teeth Thornton Wilder Truman State University Joan Mather, Director columbinus United States Theatre Project Truman State University David Charles Goyette, Director A Midsummer Night’s Dream William Shakespeare Truman State University David Charles Goyette, Director Two Gentlemen of Verona William Shakespeare Perseverance Theatre Young Company David Charles Goyette, Director A Midsummer Night’s Dream William Shakespeare Perseverance Theatre Young Company David Charles Goyette, Director Changes of Heart (La Double Inconstance) Pierre de Marivaux Perseverance Theatre Young Company David Charles Goyette, Director Long Christmas Ride Home Paula Vogel Perseverance Theatre David Charles Goyette, Director Speech and Debate Stephen Karam Perseverance Theatre David Charles Goyette, Director Fur and Other Dangers Allyson Currin Source Theatre Company David Charles Goyette, Director Character Assassination Adam Goldberg Source Theatre Company David Charles Goyette, Director FOB David Henry Hwang Tsunami Theatre Company David Charles Goyette, Director Biloxi Blues Neil Simon Dominion Stage David Charles Goyette, Director Dog Sees God Bert V. Royal University of Alaska Southeast David Charles Goyette, Director Landscape of the Body John Guare University of Alaska Southeast David Charles Goyette, Director Caucasian Chalk Circle Bertolt Brecht The University of Texas at Austin David Charles Goyette, Director Burn This Lanford Wilson The University of Texas at Austin David Charles Goyette, Director Changes of Heart (La Double Inconstance) Pierre de Marivaux The University of Texas at Austin David Charles Goyette, Director Miss Julie August Strindberg The University of Texas at Austin David Charles Goyette, Director Crossing the Bar Don Negro Carnegie Mellon University David Charles Goyette, Director PLAYWRITING EXPERIENCE: Country Girl (In Development) Perseverance Theatre Douglas, AK Tlingit Play (In Development) Perseverance Theatre Douglas, AK The Chalk Circle (Reading) The University of Texas at Austin (2002) Austin, TX An adaptation of Bertolt Brecht Play Maurice (Workshop) The University of Texas at Austin (2002) Austin, TX An adaptation of EM Forster’s Novel Ground Zero Project (Workshop) The University of Texas at Austin (2001) Austin, TX An exploration of the 9/11/2001 tragedy using Mask, Shadow Puppetry, Ritual, Found Object, Suzuki, Viewpoints, Stage Combat A Tree Telling of Orpheus (Full Production) Kennedy Center’s Millennium Stage (2000) Washington, DC An adaptation of a poem by Denise Levertov Shakespeare’s Quilt (Reading) Carnegie Mellon University (1996) Pittsburgh, PA Pyotr (Workshop) Carnegie Mellon University (1996) Pittsburgh, PA Triangles (Full Production) Scotch-n-Soda Theatre Company (1995) Pittsburgh, PA ACTING EXPERIENCE: The Typographer’s Dream Adam Bock Perseverance Theatre Jesse Young, Director Porcelain Chay Yew Tsunami Theatre Company Michael Chamberlain, Director Black Comedy Peter Shaffer Carnegie Mellon University Mladen Kiselov, Director Tabitha Keith Derenzo The University of Texas at Austin Johanna McKeon, Director Good C.P. Taylor Mesa Community College Lyn Dutson, Director PANELS / PRESENTATIONS / COMMITTEES / CONFERENCES: TCG/NEA Playwriting Residency Grant Reader Theatre Communications Group New York, NY American Theatre Company Literary Circle American Theatre Company Chicago, IL Arts In Education Grants Committee DC Commission on the Arts and Humanities Washington, DC Lorraine Hansberry Award Selection Committee Kennedy Center for the Performing Arts Washington, DC Tidal Echoes 2008 Editorial Committee University of Alaska Southeast Juneau, AK 2007 Poetry Out Loud Competition Judge National Endowment for The Arts & Poetry Foundation Juneau, AK Long Christmas Ride Home Talkback Perseverance Theatre Juneau, AK The Raven Odyssey Talkback Perseverance Theatre Juneau, AK 2001-2002 Undergraduate Scholarship Committee University of Texas at Austin Austin, TX 2002-2003 Undergraduate Scholarship Committee University of Texas at Austin Austin, TX 2003-2004 Undergraduate Scholarship Committee University of Texas at Austin Austin, TX Sakuntala and Sanscrit Dramatic Theory University of Texas at Austin Austin, TX Putting Brecht’s Work in Practice University of Texas at Austin Austin, TX Tools for Teaching: Conference for Experienced TAs University of Texas at Austin Austin, TX The Role of Women in 18th Century French Drama University of Texas at Austin Austin, TX Practical Acting Technique in French Period Drama University of Texas at Austin Austin, TX Animal Work for Peter Pan University of Texas at Austin Austin, TX Trying to Find Chinatown Talkback Tsunami Theatre Company Washington, DC FOB Talkback Tsunami Theatre Company Washington, DC OTHER TRAINING: ARTISTIC Unarmed Combat, Broadsword, Rapier & Dagger National Stage Combat Workshop, SAFD (2009) Winston-Salem, NC (Recommended Pass in Unarmed and Broadsword, Basic Pass in Rapier & Dagger) Neutral Mask Dodi DiSanto (2003) Washington, DC Alexander Technique Riki Alexander (2003) Washington, DC Playwright/Director Seminar Karen Hartman, Playwright (2003) Austin, TX Georgian Period Movement Jim Hancock, Styles Expert (2003) Austin, TX Directing Career Workshop David Diamond, Former Head of SSDC (2003) Austin, TX Dah Theatre Workshop Maja Mitic, Yugoslav Artist (2003) Austin, TX Choreography Lyn Wiltshire (2002) Austin, TX Ballet Andrea Beckham (2002) Austin, TX Musical Theatre Movement Andrea Beckham (2002) Austin, TX Laban Movement Analysis Andrea Beckham (2002) Austin, TX Pilates Andrea Beckham (2002) Austin, TX Directing Seminar Jonathan Miller, Director (2002) Austin, TX Directing Seminar Anne Bogart, Director (2001) Austin, TX Viewpoints SITI Company Member (1995) Pittsburgh, PA Growtowski Training Jed Allen Harris(1994) Pittsburgh, PA Rhythm Victoria Santa Cruz (1994) Pittsburgh, PA Tumbling Tim Carrier (1993) Pittsburgh, PA Hand to Hand Combat Tim Carrier (1993) Pittsburgh, PA Yoga Various Teachers Various Locations ADMINISTRATIVE Arts Management Seminars Vilar Institute for Arts Management (2003-2004) Washington, DC Kennedy Center for the Performing Arts Email Marketing National Arts Marketing Workshop (2003) Washington, DC Sponsored by Cultural Alliance of Greater Washington Your Board and Fundraising The Foundation Center (2003) Washington, DC Introduction to Fundraising Planning The Foundation Center (2003) Washington, DC Proposal Budgeting Basics The Foundation Center (2003) Washington, DC Advertising Basics National Arts Marketing Workshop (2003) Washington, DC Sponsored by Cultural Alliance of Greater Washington A Checklist For New Nonprofits The Foundation Center (2003) Washington, DC Direct Mail National Arts Marketing Workshop (2003) Washington, DC Sponsored by Cultural Alliance of Greater Washington Internet National Arts Marketing Workshop (2003) Washington, DC Sponsored by Cultural Alliance of Greater Washington Proposal Writing Basics The Foundation Center (2003) Washington, DC Grant Seeking Basics The Foundation Center (2003) Washington, DC EDUCATION TOPS (Training of Promoters & Storytellers) Alaska Initiative for Community Engagement (2006) Anchorage, AK Training in the Assets Framework Supervised Teaching in Drama John Brokaw (2001) Austin, TX AWARDS & HONORS: Alaska Humanities Scholar (2007) Anchorage, AK League of Washington Theatres Offstage Award (2004) Washington, DC John J. Wills Scholarship (2000-2003) Austin, TX Francis R. Hodge Endowed Scholarship in Drama (2000-2003) Austin, TX Morton Brown, Nellie Lea Brown & Minelma Brown Lockwood Scholarship (2000-2003) Austin, TX Georgia B. Lucas Foundation Scholarship (2000-2003) Austin, TX A.C.T. Centerstage Award for Best Director and Best Production (1998) Washington, DC Robert Huckestein Jr. Memorial Award (1997) Pittsburgh, PA “My Heart is in the Work” Award (1995) Pittsburgh, PA Michael Reimer Memorial Award (1991) Mesa, AZ INTERESTS: Intercultural & Multicultural Performance Interview Based Work Ensemble Based Work Heightened Language (Shakespeare, Marivaux, Shaw, Et al) OTHER PROFESSIONAL AFFILIATIONS: American Theatre Company Literary Circle The Society of American Fight Directors, Member – Actor Combatant Society of Stage Directors and Choreographers Theatre Communications Group, Individual Member Tsunami Theatre Company, Artistic Associate COMPUTER LITERACY: Mac and PC: Accel, Adobe Acrobat, Adobe Contribute, Adobe Photoshop, AOL Instant Messenger, Cyberduck, Entourage, Garage Band, Gimp, Handbrake, iCal, iChat, iDVD, iMovie, Internet Explorer, iPhoto, iTunes, iWeb, Lotus Notes, MacTheRipper, Mail, Microsoft Messenger, MS Office, MS Publisher, Netscape Navigator, Preview, Safari, Skype, VLC Player, VPNClient, Windows Media Player, Word Perfect, Yahoo Messenger http://www.davidcharlesgoyette.comUAS%20Theatre%20Program.htmlUAS%20Theatre%20Program.htmlUAS%20Theatre%20Program.htmlUAS%20Theatre%20Program.htmlUAS%20Theatre%20Program.htmlUAS%20Theatre%20Program.htmlUAS%20Theatre%20Program.htmlshapeimage_1_link_0shapeimage_1_link_1shapeimage_1_link_2shapeimage_1_link_3shapeimage_1_link_4shapeimage_1_link_5shapeimage_1_link_6shapeimage_1_link_7