Artistic Statement
Theatre can educate, theatre can unite, theatre can promote discussions, and theatre can heal. It is my privilege to facilitate this with, and through, my art. I am an interdisciplinary artist working in many genres of theatre. My work is inspired by my curiosity about the cathartic effect of live theatre, and I explore ways to strengthen the actor–audience relationship. I employ movement-based acting techniques, such as the Suzuki Method of Acting and Energy Essence Studies of Jean Sabatine, having been trained in both by the creators and their collaborators.
I focus on the process of theatre creation and character embodiment and work in a cyclical fashion to analyze, research, and connect my findings to my practice. My work is in a constant state of process and evaluation as a performer and theatre educator. I am a firm believer that there is an inherent need for live theatre in our genetic makeup and seek to appease this hunger through a study of genre, disciplines, and action.
Theatre has a powerful effect on all who partake in it. It holds a mirror to society to show us who we are, where we come from, and what we can become. It is my job to hold this mirror through movement, theory, and physical action.
I focus on the process of theatre creation and character embodiment and work in a cyclical fashion to analyze, research, and connect my findings to my practice. My work is in a constant state of process and evaluation as a performer and theatre educator. I am a firm believer that there is an inherent need for live theatre in our genetic makeup and seek to appease this hunger through a study of genre, disciplines, and action.
Theatre has a powerful effect on all who partake in it. It holds a mirror to society to show us who we are, where we come from, and what we can become. It is my job to hold this mirror through movement, theory, and physical action.
Biography
Helen T. Clark received her BFA in Acting from the University of Connecticut, and her MFA in Interdisciplinary Arts from Goddard College where her foci were performance technique, feminism in theatre, theatre integrated learning, and the audience-actor relationship. Prior to coming to Ithaca in 2006, she was a company member of Connecticut Repertory Theatre and an Artist in Residence at Berkshire Theatre Festival. Favorite roles include The Hot L Baltimore (Jackie), Julius Caesar (Portia), WRENS (Meg), A Christmas Carol (Katherine/Fezziwig’s Daughter), A Midsummer Night’s Dream (First Fairy), and The Laramie Project (Multiple characters). In Ithaca she has been seen at The Hangar Theatre, most recently in the pre-Broadway workshop of Green Gables (Brooke), the 2-actor school tour of The Lion, The Witch, and the Wardrobe (Lucy, White Witch, etc.), and RENT (Ensemble). Other favorites include Who’s Afraid of Virginia Woolf? (Honey) with the Homecoming Players, Our Town (Mrs. Webb) with Theatre Incognita, and A Christmas Carol (Christmas Past/Martha Cratchit) with The New Mercury Radio Theatre. She is currently working on her solo show, The Waking Danu Project in collaboration with the support of the Foundation for Jungian Psychology, and is the current Education and Community Engagement Manager at The Hangar Theatre, as well as a Guest Lecturer of Acting at Wells College. She has been working closely with Civic Ensemble since their inception, having performed in To Frack or not to Frack, A Setback Aint Nothing but a Set Up for Comeback, K, or the Girl with the Plastic Rose, and On the Corner.
Awards and Recognitions:
2001 Connecticut Drama Association: Best Actress for her performance of Tilly in The Effects of Gamma Rays on Man-in-the- Moon Marigolds
2009 TANYS Meritorious Achievement in Acting Award for her performance of Ida Tarbell in Trust.
