Teaching Philosophy
As an educator, it is my goal to inspire students to become artist-citizens who… think critically, create wholeheartedly and speak boldly through their art! I approach this pedagogically by providing as many points of entry to creative and critical thinking processes. It is through education that we empower students to discover their own unique voice.
               
“Vulnerability is the birthplace of innovation, creativity and change.” ~Brené Brown

Fundamental to my Teaching Philosophy is a Willingness…       
The importance of establishing a classroom environment that encourages students to take risks and to embrace failure as a crucial and necessary aspect to any creative and innovative processes. I follow the mantra that it is necessary to invite students to move into a “stretch zone” which is outside their comfort zone but not so far that they reach a panic zone. This was instilled during my Yoga & SEL certification with Breathe for Change.org.
 
I aim to facilitate this “stretch zone” environment by treating students with the utmost respect and recognizing that each student will have an individual journey of growth along with their peers. The classroom should create a feeling that both the physical space and the psychological space can be trusted and exist without judgment from self or peers. This confirms the connection that my classroom is an environment in which taking risks and embracing failure is supported and even applauded. The degree of “stretch” applied to each student is approached on an individual basis with careful observation.
 
“You cannot create results. You can only create conditions in which something might happen.”   ~Anne Bogart

Fundamental to my Classroom is…

• Professionalism. I expect that students approach their assignments and explorations with the same intensity and commitment as they would rehearsal and performance. It is essential that play is a component of the learning process. I often describe this as “serious play,” to signify that professionalism is a tool that must be developed to thrive in any career.
  
  
• Collaboration. I employ various modes of learning & collaboration to foster students’ ability to…
  • Develop active listening skills to engage in a collaborative dialogue and exchange of ideas.
  • Practice “yes and” with the goal of remaining open and receptive to all proposals.
  • Recognize the value of varying ideas and utilize the opportunity to experiment in new ways.
  • Identify personal strengths within group dynamics and evaluate areas that need growth.
  • Acknowledge conflicts and propose strategies for moving forward in the collaborative process.

My training in the Margolis Method, Viewpoints, Moment Work and Lecoq’s Autocour influence the collaborative and experimental nature of my classroom structures. Each of these modalities ask the student to develop an aesthetic approach to their art making and challenge the ever-evolving shape of theatre.

 “Art is the most effective mode of communications that exists.”    ~John Dewey

• Analytical Skills. I establish the importance of engaging in an atmosphere where constructive and critical feedback is given in a supportive manner. Liz Lerman’s Critical Response Process guides my approach to encourage students to distinguish between their observations and their opinions. This form of critical dialogue promotes risk taking!

“Create your own method. Don't depend slavishly on mine. Make up something that will work for you! But keep breaking traditions, I beg you.”   ~Constantin Stanislavski

• Experimentation. I construct classroom projects to provide paths for experimentation with all modes of playmaking, character development and storytelling. This includes explorations in the expression of the body via voice, movement and text along with incorporating other elements of our “theatrical language” such as design, digital media, site specific and exploring immersive relationships of performer and spectator.

      Experimentation Challenges the Student to…

• Propose new approaches to creating which test and stretch personal (or social) boundaries.        
• Foster creative relationships and navigate group dynamics and employ communication skills which can be applied across all aspects of personal/professional life.
• Discover liminal spaces where art/theatre/performance can exist without absolute definition, labels or confinements.
• Synthesize all areas of theatrical study to invent the future of theatre & live performance.

"The future belongs to young people with an education and the imagination to create."     ~President Barack Obama
 
Art is Essential to the Future…
All students who leave my classroom will have gained an appreciation for the power of theatre to expand our imaginations, challenge of beliefs and affect our emotions. Not all students will necessarily pursue life as a professional actor or theatre artist, but I aspire to impart a passion to remain active as an arts advocate & patron while passing along their love of theatre and knowledge to others.
 
For those students who will pursue theatre as a career, I desire to instill recognition that all genres, forms and levels of theatre from professional, regional to community and non-union are worthy of pursuit. I encourage them to seek opportunities that fulfill them as artist-citizens while also understanding the challenges and drive needed to sustain a career in the arts.
 
“You learn at your best when you have something you care about and can get pleasure in being engaged in.”              ~Howard Gardner
 
It is my goal to motivate students to discover their passion,
to pursue knowledge and seek pleasure through the journey of life!

Courses Taught
​Movement for the Actor: Introduce basic principles of movement practices, developing a keen awareness of the physical body in relationship to emotion, through a psychophysical approach to acting.

Advanced Movement: This course will expand upon principles from Movement for the Actor course and introduce new approaches in ensemble devising and “Actor as Creator” principles. Daily exercises and assignments are designed to expand the students’ imagination for developing complex characters’ through a psychophysical approach to acting.

New Media in Performance: Students will explore a wide range of performance genres thereby developing performance skills and an understanding of the relationship between various contemporary aesthetics. The course will also emphasize the integration of visual and digital/technological media within the performing arts and our daily lives.

The Performer’s Presence I: Designed as a laboratory experience where students will work on developing stage presence by expanding their creative and spontaneity skills. Based in improvisation and ensemble exercises, focus will be on expanding personal expression in both the physical body and voice.

The Performer’s Presence II: Designed as a laboratory experience where students will develop introductory skills for building ensemble techniques that focus on creating work using improvisational exercises. The course will culminate with a creative project devised by the students in class.

Acting I: Introduces basic principles of acting through daily exercises and assignments designed to expand the students’ imagination and provide a foundation to develop a stage character through physical and vocal expressions. Each class meeting will consist of physical and vocal participation of exercises, performed as a group as well as individually in front of your peers.

Acting II: Further development of the basic techniques of theatrical communication. Study of the director-actor-audience relationship. Practical application through rehearsal and performance of one-act plays.

Introduction to Theatre: An investigation of the on-stage and backstage elements of contemporary theatre, film and television. Emphasis on the collaboration of performers, writers, directors, designers and technicians and the role of the audience. 

Theatre History (Greeks to 19th C): A study of theatre as an art form with an emphasis on production practices in the Golden Ages of theatre: Greek, Roman, Medieval, Renaissance, and Restoration. Representative plays, theatres, acting, staging and design styles explored.

Contemporary Theatre History (19th – 21st C): A study of the development of twentieth century theatre art from Realism to New Theatre eclectic styles. The background and evolution of Realism, Expressionism, Theatre of the Absurd and current theatre movements explored.