Welcome to the academic & professional page of Kevin Inouye — instructor of acting, movement, & stage combat as well as actor, director, stuntman & fight director.
Kevin is a proud member of SAG-AFTRA.
Kevin has his MFA in Theatre Pedagogy from Virginia Commonwealth University and currently serves as an Assistant Professor with the Case Western Reserve University/Cleveland Playhouse MFA program and Case Western Reserve Department of Theater. He is a certified teacher with the Society of American Fight Directors, and a Certified Teacher with the National Michael Chekhov Association.
Focus on expression, dynamic physical storytelling, an overview of major theorists.
A genre course covering a range of heightened and/or period styles including Shakespeare and Restoration Comedy.
Unarmed or armed stage combat with a focus on safety, narrative, and underlying concepts. This is an acting course set in the context of every conflict, and can culminate in testing for certification through the Society of American Fight Directors.
Acting for non-majors
Theatre as a component of liberal arts education, with a focus on self-discovery.
Acting for the Camera
Developing the skills necessary to perform naturally and effectively for the camera.
The director’s work, including script analysis, ground plans, blocking, focus, working with actors, sythesis of the whole production.
Mask training for the actor, using Lecoq’s exercises to develop an actor’s presence and use of the body,
Transferring acting skills to inanimate objects through real-time manipulation. Students will construct and use a variety of puppets including marionettes, hand puppets, and full-size puppets.
The courses listed here are a sampling of courses I am prepared to teach at the University level, and is by no means exhaustive.
I see the professional actor as a human whose ordinary skills have been sharpened – skills such as understanding another being, truly listening to and seeing what is said and unsaid, making strong and effective choices, being present in the moment, using and comfortably inhabiting their own body, and understanding the signals they send to others. This makes teaching acting vastly rewarding, and the corollary gives us one of our learning outcomes: the student must be able to see what they as humans have to offer the art; how their unique combination of skills, stories, imagination, and physicality form their own foundation for professional artistic work. My job is working with them to identify their own strengths to help them stand out in competitive professional markets, as well as the skill sets to thrive within them.
My work is rooted in the analysis and discipline of Stanislavski, supplemented by the imagination and joy of Michael Chekhov, the physical journey of LeCoq, and the play and presence of Meisner. In classes I seek a balance of academic, physical, and creative; Imagination without understanding or the ability to execute it is just daydreams. Understanding without creativity and execution produces nothing. Ability without understanding or creativity will never reach its full potential. Most students will find some of these aspects come naturally to them, but a supportive, collective inquiry process means they can assist each other, finding not only the common ground but, more importantly, the areas where their skills and knowledge are complementary. This is key to productive diversity, the kind that infuses our way of approaching working relationships.
My acting classes include exercises from established practitioners, script and character analysis, improvisation, application to monologue or scene work, and group discussion. Students should leave class with a deeper understanding of their own relationships to their selves and others and how to use their voices and bodies effectively as storytellers and active agents in the world. They gain the tools to make intelligent choices based on character, story, and integrated sources of inspiration from a variety of fields.
Special topics such as movement or stage combat may appear to be primarily technique based, but can transcend the face value and become a way of exploring and expressing character in unfamiliar contexts. Stage Combat is a specialty of mine not just as a skill set but as a chance to explore how characters handle immediate pressing concerns and face the ultimate existential dilemmas, all set to a clear physical score of collaboratively devised theatre.
Students must be helped to see the underlying concepts behind exercises or coaching. Understanding why something works or was done a particular way helps to develop theatre artists who can eventually go beyond the techniques they’ve been taught and apply their deeper understanding to break new ground within the art. If I can teach them to bring their whole being to what they do —life experience, imagination, intelligence and body— then they have a chance to do what all students should; to learn not just what we can teach them, but move on to what they can offer the world.
Richmond Theatre Critics Circle Artie Award
Outstanding Achievement in Fight Choreography
ACTF REGION VII
Meritorious Achievement in Direction
A selection of student work and shows.
The Fight Master
Cry Havock & Let Slip the Sounds of War; Voice and the Battle Cry
The Friends journal: journal of the religious society of quakers
Teaching our Values, Not our Disapprovals
Method in Motion: Grounding a Movement Pedagogy in the lessons of stanislavski
What People Say About Me
“I have been able to observe Kevin teaching in the classroom and can speak to his abilities as a teacher. In both the subjects of acting and stage combat, Kevin is a born professor. He has a vast and easy knowledge of both subject areas, and distills this knowledge into clear concise instruction for his students.”
Assistant Professor, University of South Florida
“! I firmly believe that I have learned more in this class in terms of tangible and useful takeaways than any I have previously taken- I admire the way the class was structured and the amount of growth we experienced individually (as actors, students, and people) and as a collective whole.”
Beginning Acting, College of William & Mary
“It was fascinating watching my classmates grow into their respective characters. It was also great to see the tension building on itself with each new note Kevin would give the actors… by their physicality, voice, & movements.”
Guest Lecture, Acting I, VCU
“Kevin has a very strong and clear commitment to mastering the NMCA’s dynamic teaching, acting and directing system using Michael Chekhov’s theories. He was very quick to engage in the process, confident in sharing his inquiries and very capable in disseminating freshly acquired knowledge to his class. He embraces the work easily and generously as an actor and teacher. I am confident his students and cast-mates will benefit from working with Kevin. I look forward to working with him in the years to come.”
President & Co-Founder, National Michael Chekhov Association
“Kevin is flexible, competent, and able to work with a wide range of individuals with vary levels of experience. I hired Kevin to work with seasoned actors and young inexperienced boys. He was able to teach the boys the basics, help them feel confident and stress the importance of safety. His work with the adults was equally as polished and best used the skills each actor brought. He was a consummate professional. I highly recommend his work.”
Director, Lakewood Theatre
“Sometimes I would get frustrated thinking that I would never use this in later life, but this class has helped me grow as a person. It has helped me understand the theatre industry and how much time and effort that actors and actresses put into their work. This class definitely pushed me to do better and work hard. I am thankful I took this class, and grateful to learn about theatre.”
Practical Acting: Broadway to Boardroom, Christopher Newport University
Recent Student Work
After a week and a half exploring the tools, students were asked to score their scripts using a mix of Chekhov and Laban movement qualities, efforts, and archetypal or psychological gestures. They then performed this both fully physicalized and ‘veiled’, as one might at a normal audition, preserving the intent, breath, and core feeling of the actions but minus the fully body indication. Here’s a sample of that work, with both versions shown.
“Outwardly, You make no move.
You sit there motionless,
You stare into space,
But within you
Movements are tending,
As they stir in a kind of sphere,
To grasp, to penetrate,
To give bodily shape
to indistinct flutterings
Which slowly turn into words
Into scraps of sense,
A rhythm begins
And you acquire worth..”
– Eugene Guillevic, “Le Sorti des mots” from Art Poetique (translated by D.B.)