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Liberal Studies

Terry Glaser

Adjunct Professor

Ms. Glaser is a stage director of plays and operas, as well as a
playwright, translator, and acting teacher. She has worked both in
academia and the professional theatre for over 25 years. She has
taught at UCSD, USC, CalArts, Earlham College, the Michael Chekhov
Studio-USA West, Mo`olelo Performing Arts Company, the Fritz
Theatre, the Actors Alliance of San Diego, the Classical Singers
Association of Los Angeles, the Opera Theatre of Northern Virginia
Conservatory, and the Old Globe Theatre. Ms. Glaser has served as
stage director for over 40 professional and university productions
across the country, including the plays The Beaux' Stratagem, The
Government Inspector, The Bungler, The Comedy of Errors, Three
Sisters, The Heidi Chronicles, Trouble in Mind, Stepbrothers in Crime,
A Flea in Her Ear, and Hotel Paradiso; and the operas La Bohème, Le
Nozze di Figaro, Così fan tutte, La Périchole, L'Orfeo, Croquefer, The
Italian Straw Hat, Dido and Aeneas, The Beggar's Opera, Orpheus in
the Underworld, and A Midsummer Night's Dream.
Ms. Glaser also specializes in the application of acting techniques to
other fields. She founded Glaser Communication in Washington, DC,
teaching communication and presentation skills to a variety of
business clients, including the American Management Association, the
Girl Scout Council of the Nation's Capital, the Bureau of the Census,
the National Association of Manufacturers, and the Support Center of
Washington. With her extensive training in whole-brain teaching
techniques, she conducted training seminars for the Prince William
County, VA, School System; the Oswego, NY, School System; and the
Prince George's County, MD, Library System. She has also conducted
seminars in courtroom-presentation techniques at the California
Western School of Law. For USD's Center for Educational Excellence,
she conducted a seminar in the hidden meanings in nonverbal
communication, and for USD's Changemaker Hub, she has conducted
workshops that use actor-training techniques to cultivate empathy. Ms.
Glaser has been an Education Outreach Consultant for the San Diego
Opera, writing scripts and conducting programs for the Docent
Training Program. She is a member of the Association of Theatre
Movement Educators, where she sits on the review panel for the
Visiting Artist/Scholar Fellowship Program.


In 2012, Ms. Glaser became the first recipient of the Association for
Theatre in Higher Education/Kennedy Center American College Theatre
Festival Region #8 Award for Innovative Teaching.

Education

Ms. Glaser holds a B.A. in Playwriting from Brown University and an
M.A. in Theatre, with a focus on Directing, from Syracuse University.
She has specialized training in the Michael Chekhov Technique,
Richard Schechner's Rasaboxes™, red-nose clown, neutral mask,
Boal's Theatre of the Oppressed, period style, and Lecoq.

Scholarly and Creative Work

Ms. Glaser's writing includes original scripts and translations of classic
plays and operas. She has directed productions of her translations of
The Frogs, A Flea in Her Ear, L'Orfeo, and Croquefer. Her original plays
include Twisted Perspective; Chanticleer; and The Mysterious Dwarf, a
one-person show, premiered at USD in 2011, in which she portrays the
writer Nikolai Gogol. She has developed a comprehensive training
method for acting in opera and is in the process of finishing a text
book on that subject.


Ms. Glaser regularly makes conference presentations for the
Association of Theatre Movement Educators and the Association for
Theatre In Higher Education, where she has also served as a
respondent for debut and adapted acting exercises.

 

Teaching Interests

In her teaching of acting, Ms. Glaser focuses on the intersection of
physicality and psychology, continually developing techniques that
reinforce, complement, and extend traditional Stanislavsky training.
The psycho-physical techniques she has made an intensive study of
include the work of Michael Chekhov, Vsevolod Meyerhold, and Lecoq.
Ms. Glaser is also skilled in period styles, such as Shakespeare and
Restoration Comedy, integrating the special linguistic demands of
these nonrealistic styles with the physical, emotional, and imaginative
demands inherent in all acting. In all of her teaching, she fosters in
students the ability to release their creativity, expand their personal
boundaries, and function at their maximum potential.