Teaching Philosophy

When acting or teaching, I approach the work as a science. I am methodical when exploring and creating the possibilities of a character’s unique voice, body, history and point of view. Developing a character is like building Frankenstein’s monster: you assemble your final product from wildly varied and distinct sources. Using the text as your anchor, you mix and match character traits to figure out what works best and will ultimately create the fully dimensional being required by the text. One must pose an inquiry, investigate it, gather data, analyze it, and evaluate the findings before coming to a conclusion. When teaching or coaching, I encourage students to come up with their own ideas, try them, and then decide whether to explore them further or try something else.

I have found that this type of in-depth investigation cannot be undertaken while slavishly adhering to a particular methodology or style of training. When teaching, I draw upon myriad techniques that have served me well as an actor. I use exercises derived from Meisner Technique, Lucid Body, Feldenkrais, Clown, Hagen Technique, Fitzmaurice Voice Work and others to help unlock my students’ potential. My work has taught me that being an acting teacher is akin to being a great linguist. I must speak the “language” of several techniques as I never know which one will connect with the heart and mind of my student. Actor training is a deeply personal endeavor for all involved. As such, it requires me to be painstakingly detailed when diagnosing and addressing the needs of my students.  I am most interested in empowering my students to be the curators of their learning. Ultimately, they must learn how to use technique to reveal themselves in service of the character.  Knowing this, I translate my understanding of the craft in such a way that leaves room for the actor to facilitate the creation of their own process. In collaboration with my student, we discover, test and expand upon those techniques which best suit and enhance their mental and emotional faculties. Students are required to be self-reflective and articulate their experience of their own work. It is this conversation between technique and instinct that demystifies the actors process.

This student/teacher collaboration can only be undertaken in an environment that is both demanding and nurturing. I hold my students to an individualized standard and use constructive criticism to guide them past their preconceived limitations and boundaries. Unflinching honesty is the basis of my teaching. Withholding information or minimizing problems will only lead to disaster for the actor. With great sensitivity to the vulnerable state of the actor before me, I address the concerns they expressed and provide insight on what I see as their next steps. Our joint effort empowers the student to continue the exploration on their own. This private exploration fosters critical thinking and ultimately leads the student to the creation of their personalized creative process.

Beyond this scientific approach to the craft, I bring to the classroom an abundance of generosity, curiosity and love. Love for both the craft and my students.