Question: Kate Maravan teaches a technique that is an approach to acting that was developed by what American theatre practitioner?
Context: Gestus is an acting technique developed by the German theatre practitioner Bertolt Brecht.  It carries the sense of a combination of physical gestures and "gist" or attitude.  It is a means by which "an attitude or single aspect of an attitude" is revealed, insofar as it is "expressible in words or actions." The Moscow Art Theatre (or MAT) (Russian: Московский Художественный академический театр, МХАТ; "Moskovskiy Hudojestvenny Akademicheskiy Teatr", МHАТ ) is a theatre company in Moscow.  It was founded in 1898 by the seminal Russian theatre practitioner Konstantin Stanislavski, together with the playwright and director Vladimir Nemirovich-Danchenko.  It was conceived as a venue for naturalistic theatre, in contrast to the melodramas that were Russia's dominant form of theatre at the time.  The theatre, the first to regularly put on shows implementing Stanislavski's system, proved hugely influential in the acting world and in the development of modern American theatre and drama. Kate Maravan (d. 1968) is a British actress, acting teacher, and co-founder of White Box, a resident theatre company at the Actors Centre, in London.  She is best known for playing Laura Dunnford in the British television comedy series Broken News.  Maravan trained at RADA, and teaches the Meisner Technique at the Royal Court Theatre.  She has also taught for the International Institute of Performing Arts in Paris. The Meisner technique is an approach to acting which was developed by the American theatre practitioner Sanford Meisner. The "art of representation" (Russian: "predstavlenie" ) is a critical term used by the seminal Russian theatre practitioner Konstantin Stanislavski to describe a method of acting.  It comes from his acting manual "An Actor Prepares" (1936).  Stanislavski defines his own approach to acting as "experiencing the role" and contrasts it with the "art of representation".  It is on the basis of this formulation that the American Method acting teacher Uta Hagen defines her recommended Stanislavskian approach as 'presentational' acting, as opposed to 'representational' acting.  This use, however, directly contradicts mainstream critical use of these terms.  Despite the distinction, Stanislavskian theatre, in which actors 'experience' their roles, remains 'representational' in the broader critical sense. Theatre practitioner is a modern term to describe someone who both creates theatrical performances and who produces a theoretical discourse that informs his or her practical work.  A theatre practitioner may be a director, a dramatist, an actor, or—characteristically—often a combination of these traditionally-separate roles.  "Theatre practice" describes the collective work that various theatre practitioners do. Konstantin Sergeievich Stanislavski ("né" Alexeiev; Russian: Константи́н Серге́евич Станисла́вский ; 17 January [O.S. 5 January] 1863 7 August 1938) was a seminal Russian theatre practitioner.  He was widely recognised as an outstanding character actor and the many productions that he directed garnered a reputation as one of the leading theatre directors of his generation.  His principal fame and influence, however, rests on his 'system' of actor training, preparation, and rehearsal technique.  Calling him "the first great creator of a method of acting in the theatre," Jerzy Grotowski praised Stanislavski for "asking all the relevant questions that could be asked about theatrical technique."  Stanislavski began developing a 'grammar' of acting in 1906; his initial choice to call it his System struck him as too dogmatic, so he wrote it as his 'system' (without the capital letter and in inverted commas) to indicate the provisional nature of the results of his investigations—modern scholarship and the standard edition of Stanislavski's works follow that practice; see Benedetti (1999a, 169), Gauss (1999, 3—4), Milling and Ley (2001, 1), and Stanislavski (1938) and (1957). </ref> Mikhail Aleksandrovich "Michael" Chekhov (Russian: Михаил Александрович Чехов , 29 August 1891 – 30 September 1955) was a Russian-American actor, director, author, and theatre practitioner.  His acting technique has been used by actors such as Jack Nicholson, Clint Eastwood, Marilyn Monroe, and Yul Brynner.  Konstantin Stanislavski referred to him as his most brilliant student.  He was a nephew of the playwright Anton Chekhov. Peter A. Davis is a professor of theatre history at the University of Illinois at Urbana-Champaign, with specialties in early American theatre, Restoration theatre and Eighteenth Century cultural history.  His research interests include the economic and social influences of theatre in addition to First Amendment and censorship issues related to live performance.  His articles and reviews are found in the leading theatre journals, including, "Theatre Survey", "Theatre History Studies", "Journal of American Drama and Theatre", "Modern Drama", "Theatre Research International", "Restoration & 18th century Studies", "Journal of American History" and "Theatre Journal".  He was a major contributor to "The Cambridge History of American Theatre" (1999), winner of the Barnard Hewitt Award from the American Society for Theatre Research and the Special Jury Award of the Theatre Library Association.  He also contributed major essays to "The American Stage", Engle and Miller, eds.  (Cambridge), "The Cambridge Guide to American Theatre", Wilmeth, ed.  and "Inventing Times Square", William R. Taylor, ed.  (Russell Sage Foundation).  He was a 1988 recipient of an NEH research grant to study in effects of the Panic of 1873 on the American theatre industry. Brad Heller is an American acting teacher, and founder of The Heller Approach acting studio in Los Angeles, CA.  He is also an actor, writer, and director.  Heller was mentored by original Group Theatre member Don Richardson, who was the only group member to say, "The Method isn't what acting is about."  The technique Heller developed, known as The Heller Approach, is primarily based on Muscle memory.  The Approach is quite different from Method Acting, which requires you to delve into your personal emotions.  Heller's technique uses the same philosophy as that of an athlete.  Heller's acting technique also helps actors deal with Stage Fright and Performance Anxiety.
Answer: Sanford Meisner