Teaching Philosophy
I draw from the depth of knowledge I have acquired as a performing artist investigating the intersection of dance and theatre. In my investigations I have learned to cultivate the techniques of both mediums to expand my artistic choices and view of performance. I bring to performance training a vision of body engagement essential for the embodiment of the imagination and the developing physicality of the performer to meet the demands of the professional fields of performance.
My goal as a teacher is to awaken and strengthen the embodiment of the performer and to hone the performer’s awareness of voice and movement to support theatrical choices. Within this goal, I seek to evaluate movement not based upon subjective qualitative terms, such as good or bad, but within a rubric of efficient, functional, and supported. From this basis of evaluation the performer can extend into more demanding or challenging physical work.
I train artists to engage in their own process and development. The tools I have gained through various movement approaches combined with acting training have guided my unfolding process as an artist. Although curriculum provides a basis for the understanding of one’s craft as a performer, the ultimate goal lies in the presence of an artist capable of making clear choices and utilizing his or her instrument with confidence. Performance training anchored in a deep kinesthetic awareness allows an artist to risk beyond one’s comfort level either within a character or into other artistic career choices. The more a performer is connected to his or her body, the more opportunities open up for future creation.
Providing the burgeoning or seasoned performer’s body with the concepts of developmental technique fundamental to Body-Mind CenteringÒ connects the performer to a fertile terrain of physical choices present at birth. The infant child becomes a metaphor for the training performer seeking a rebirth. Within this time of developmental immersion, the performer can attempt to recapture and reawaken movement choices compromised during adult development. Connecting to these new movement options are the building blocks of character choices and vocal support. The body becomes more and more the canvas from which the performer can create embodied presence for the stage and make strong vocal choices anchored within the present body.
As an educator, I also use my mythological lens to inform students to think critically and cross-culturally to invest in one’s own artistic path. Studying mythology at Pacifica Graduate Institute, I increased my understanding of world cultural backgrounds and meaning making. My education in this field of archetypal analysis enhances my skills as an educator and an artist able to perceive personal and group dynamics while connecting to thematic content through critical thought.
A fundamental of theatre training, I believe, is that it is life training. Good theatre training should engage the imagination, discipline the mind, exercise the body, extend the voice, and broaden understanding of self and the world. Theatre engages the imagination through the senses, personal and communal interaction, and cultivation of instincts. The techniques of voice, movement, and character establish control of one’s voice and body to support dynamic social engagement.