Currently on faculty in the Department of Theatre and Film Studies at the University of Georgia, Anthony's practice-as-research focuses on physical expressivity of the performer and performances, with an emphasis on masks and object theatre. He earned his MFA from the University of Tennessee, with advanced studies of the Lecoq Physical Theatre/Mask pedagogy through the London International School of Performing Arts. Anthony is a member of Actors’ Equity Association and has performed in regional, New York, and European venues as well as film, TV, and commercials. Anthony has directed regionally (Brick Playhouse (PA), Rose of Athens (GA), Neil Simon Festival (UT)), and recently served as Fight Director for the Utah Shakespeare Festival, choreographing conflict in more than 20 productions over two years. Regionally a featured performer at Atlanta's 7 Stages Theater (Tabori's Mein Kampf), and at the Edinburgh Fringe Festival (Mafia on Prozac, Classic Stage Company). A mask and puppet designer and builder, he has studied mask sculpture with Donato Sartori in Italy, and puppetry with the Puppetmongers in Toronto. His new original classic live puppet horror film S. Lenderman premiered at Atlanta's Center for Puppetry Arts last year and is in development for full production. Anthony continues his world tour of his original one-man puppet, mask, and clown show about masculinities, (becoming) Hue Man. This fall, Hue Man will be included in Applause Books' Best Plays of American Theatre Festivals, 2015.
A Case for Promotion and Tenure
I propose the body of my creative research, synthesizing work as director, performer, solo artist, playwright, and mask and puppet designer, fulfills the main criteria cited for tenure and promotion to associate professor in the University of Georgia's Guidelines for Appointment, Promotion, and Tenure and echoed in the Department of Theatre and Film Studies' guidelines. These guidelines stipulate that candidates must “show clear and convincing evidence of emerging stature as regional or national authorities...attract recognition beyond the immediate community of the university...[and have] involvement in professional theatre, film, or other media production that is acknowledged as significant at the regional and national level." This Portfolio aims to demonstrate that through regional, national, and international artistic endeavors, and my synthesis of traditional and progressive techniques, I have created a unique and integrated physical approach to performance and body of work that meets these criteria.
Comprehensive Statement of Creative Practice-as-Research
My research, teaching, and service activities are driven by three related goals of my creative practice-as-research:
Physical expressivity of the performer and performance
Identity, character, and artistic voice
Collaboration and collaborative approaches to devising performance
My formation as an artist is highly influenced by Jacque Lecoq's pedagogy in artist training and storytelling. The pedagogy emphasizes that the physical expressivity of body and space should be explored and developed. My approach goes further, identifying this expressivity as key to accessing the inner life of the artist and characters. Images and movement are primary forces in my work to engage the imaginations of artists and audiences. Masks, and by derivation puppetry and object manipulation, are essential provocative tools I use to stimulate artistic expression and specificity in training, rehearsals, and devising performance. Physical expressivity and the use of masks together help uncover modes of identity and habits that an artist brings to a role, the psychology of characters that performers wish to explore, and the individual voice and drive of both artist and character. Finally, I strive to uncover methods of defining and opening one's own collaborative voice as an artist. My diverse artistic roles - as director, choreographer, performer, playwright, designer, builder - push my abilities to collaborate and communicate.