Courtney (“Corey”) Vincent Holmes

Courtney (“Corey”) Vincent Holmes | Movement Theatre, Dance, Classical Theatre

Educational Background/Training

  • BFA Florida Atlantic University in Acting/Directing
  • M.Lit Mary Baldwin University in conjunction with the American Shakespeare Center in Shakespearian and Renaissance Literature and Performance
  • MFA Mary Baldwin University in conjunction with the American Shakespeare Center in Shakespearian and Renaissance Acting
  • Extensive work, intensives, classes in Laban, Commedia, Restoration Theatre, stage-combat, and dramaturgy
  • Extensive training in classical ballet, classic jazz, and other dance styles
  • Extensive training and PD on creating and implementing Socio-Emotional arts education

About the Artist/Ensemble

Corey became enamoured with movement theatre in the ballet studio. She trained in Cecchetti ballet and Luigi/Hatchett style jazz in South Florida. She earned her BFA from Florida Atlantic University in Acting/directing. Following her love of classic theatre, Corey earned two master’s degrees from MBU, in conjunction with the American Shakespeare Center. Her theses explored the role, use, and placement of beds on the Elizabethan stage and, the second, delved into the difference of physicality as informed by the text when playing multiple roles in Hamlet. She has continued to study movement work, specifically Commedia and Laban Movement Theory. Corey has written and presented papers on the use of Shakespeare’s rhetoric to inform movement choices. She has taught multiple levels of dance and theatre in both the private and public educational spheres. Corey works with StepVa, teaching dance and theatre to students and adults with special needs. She is a founding company member and choreographer for Company 360, a dance company that spotlights different charities and choreographs pieces for dancers of all abilities. Corey co-founded Good Mischief Makers in 2020, reimagining the staged reading for both classroom and performance purposes in a “time of Covid”. Good Mischief Makers creates full length readings of Shakespeare, as well as “pop-up video” style Shakespeare scenes for use in the classroom, adding context and background to make the classics accessible to modern students. In 2021, she was chosen to lead a panel to create Socio-emotional Theatre curriculum by the Educational Theatre Association. Corey is current the Director of Education at the historic Wayne Theatre in Waynesboro, Virginia. Corey recently published a paper exploring social trauma and its link to masked/archetypes in theatre and movement forms, specifically Commedia and Butoh. She is passionate about “Movement as a Universal Language” and the possibilities available for all performers to be storytellers through movement.

Educational Program Description

Flexible, based on the interests and needs of the organization and students. Dance, Acting, Movement-based theatre (Laban), Classical theatre,dramaturgy, and workshops for performers with special needs are areas of specialty. Arts Integrated workshops can be collaboratively tailored with instructors for integrating theatre into non-art subjects, thus providing opportunity to share techniques which can be used in the classroom beyond residency. She is passionate about working with theatre educators to implement Social-emotional aspects into their arts curriculum.

Sample Program #1: Storytelling and character building through Laban ~In this workshop students will explore movement as a creative tool to express themselves; giving performers an easy, naturally accessible way for all types of movers to create and sustain a physical reality of movement vocabulary for a specific character. We will create a physical vocabulary to express the internal voice of our character (or ourselves), creating a sustainable character that is dynamic and leaving the performers with a skill set to carry into future character driven or movement driven work. This workshop is perfect for all performers and all abilities.

Sample Program #2: So Much More Than (penta)Meter! ~In this workshop we will do a physical component to putting Shakspeare’s meter and use of rhetoric into our bodies. Students will explore iambic pentameter, rhetorical devices like polyptoton, zeugma, anaphora, etc, and use the text to inform physical choices and characterization, workshopping these further through scene and monologue work. This workshop is best suited for students 13 and up.


  • All Ages
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