First and foremost, I believe in the power of education. I do not believe that education is merely a path to a job (often that aspect is very indirect). I believe that education, particularly in a structured setting, is an amazing path to growth. I tell my students that the value of education extends beyond their field; studying math, for instance, equips them to converse across disciplines. Learning literally transforms our brains. I am passionate about sharing this perspective with my students, so that they might embrace all of their learning more, not just theatre. 

Of course, I have to acknowledge that I believe that theatre is my passion, and I believe in its ability to change the world, as it has been doing for millennia. In this digital era, theatre and live performing arts in general are increasing in value again, as humanity is already expressing a desire for more meaningful real world experiences in a world in which technology is no longer impressive regardless of how spectacular it has become.

As a teacher, I strive to make my classrooms non-competitive; my grading is based on individual growth and participation, for which I set clear rubrics. At the outset of a course, I set up group expectations and specific firm boundaries, so that within this framework I can then cultivate connected, spirited class community. Beyond the rules and boundaries set in the syllabus, as a group we come up with these expectations, or agreements, to create a sense of group accountability. I believe people are much happier to comply and be complicit creators of their own group experience when they have a hand in creating it, rather than just having it handed down by a central authority. Additionally, I use humor and relatable anecdotes to keep students engaged and relating to the lessons, and to realize that I was once like them and am absolutely on their side. Trust is an imperative in my classrooms, which I build through a variety of methods like this depending on the course, and whether the students are new to me or one another.

In our group agreements, if the students don’t offer it already, I ensure that the more verbose students make space for those that aren’t as quick to answer, that we ensure a sense of curiosity and openness, with a nonjudgmental spirit. At appropriate times, if I have students with very strong backgrounds in theatre or dance, I like to come back to a concept from Zen and the Art of Archery, the idea of “emptying one’s cup” so as to take in what is offered, regardless of one’s expertise.

Making my classes as accessible as possible is important to me as well. I aim to honor and support all abilities in my classes, adapting where necessary. I also believe it is critical to maintain open communication with the students about where they are at, and to trust them to know their own bodies and minds more than I. Additionally, these same students are endeavoring to learn and grow regardless of their abilities, and so I aim to push them where possible, and to ascertain alternative comparable means of reaching outcomes. 

Likewise, I acknowledge that all brains operate differently, and come with different prior assumptions to a course. I design my courses with UDL principles, offering multiple modes of engagement and assessment, so that I can meet each student where they are at.  I make every effort to provide learning materials, lesson plans, and texts in alternative formats. Moreover, I let students know that if they need some additional support, to let me know so I can try to help. This is another reason I prioritize trust in my classroom – so these students feel comfortable in asking for assistance.

My own approach to acting instruction is heavily influenced by Stanislavsky, Sanford Meisner, and Anne Bogart’s Viewpoints. However, I maintain that actors should be exposed to as many systems of acting, moving, and vocalizing as possible. I believe that each individual is “unlocked” by different keys, and all acting techniques are tools for our toolkit. Perhaps a given technique resonates with the student particularly well. Perhaps one might get an audition for a production that specifically uses Suzuki movement style.

I believe that not only is theatre a powerful field in its ability to change and comfort hearts and minds, but I also believe that through learning about theatre and about acting techniques, my individual students become more complete versions of themselves. At every stage of our development as humans, there will always be aspects of ourselves that can improve, whether we are aware of them or not. From the easy to identify spatial confidence that movement can bring, to the more ephemeral development of empathy through relating to characters while reading dramatic literature from cultures and time periods outside of one’s own experience, theatre, like college, transforms the student.

My students come out of my courses with a firm understanding of the subject at hand, whether it be the roots and manifestation of theatre as in an Intro to Theatre course, or what it takes to be truthful and believable as an actor. In all of my courses, students finish with a sense of community, and they gain durable skills in teamwork, mindfulness, and critical thinking with the ability to apply what they learned in the real world. Ultimately, I want my students to leave my classes not only as more skilled theatre artists, but also as more thoughtful, empathetic, and engaged members of their communities.