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Jessica-Holt

JESSICA HOLT

Script Analysis

Jessica Holt is a distinguished theater director, educator, and MFA graduate from Yale School of Drama. With 20 years of experience, she has worked at prestigious theaters nationwide and taught at renowned institutions such as American Conservatory Theater and Stanford University. Passionate about storytelling, Jessica employs a holistic approach to script analysis helping actors create impactful characters and story arcs.

Education

Jessica received her MFA in Directing from the Yale School of Drama, and holds an MA in Performance Studies from UC Berkeley. She has trained with Liz Diamond, Ron Van Lieu, Robert Woodruff, Peter Francis James, Christopher Bayes, Walton Wilson, Karin Coonrod, May Adrales, David Chambers, Jane Nichols, Jeanie O’Hare, Richard Seyd, and Paula Vogel, as well as many other artists.

Experience

Jessica has worked as a theater director, devised experience creator and educator for nearly twenty years. She has directed at nationally renowned theaters including Ensemble Studio Theater, En Garde Arts, Cape Cod Theater Project, Virginia Stage Company, Barrington Stage Company, Florida Studio Theater, Rivendell Theater, Oklahoma City Repertory Theater, Magic Theater, American Conservatory Theater, San Francisco Playhouse, Alliance Theater and many more. In addition to teaching at Maggie Flanagan Studio, she has directed, taught and coached students at schools and conservatories including American Conservatory Theater MFA, American Academy of Dramatic Art, The Studio/NYC, Fordham University, UC Berkeley, and Stanford University.

Philosophy

My work as a teacher is to guide an actor towards a holistic approach to script analysis so that they may fully understand how to lift up the larger vision of the play and the production through informed storytelling choices that pierce through to the poetic heart of the play. In addition to Meisner, my approach to script analysis is informed by the work of Konstantin Stanislavsky, Katie Mitchell, Declan Donnellan, and David Ball. By the end of my class, students will be able to break down a play into its parts in order to better understand how they translate into playable choices that impact the creation of character and story arc.

TEACHING PHILOSOPHY

We have the powerful need to tell stories surrounded by other humans. I believe the impulse to tell and be told stories is primal, essential and necessary. And I believe, at the heart of it, actors are storytellers.

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