PEDEGOGICAL STATEMENT:

It is the student as Homo universalis that is at the root of my pedagogical philosophy. Instill in a young performer a sense of personal empowerment. Mentor and coach the creation of a solid foundation of independent thinking, intellectual curiosity and a healthy physical discipline. Nurture a positive personal belief system. Helping the student to become a solid human being-a good citizen as performer through rigorous training in acting, movement and voice as well as intensive experience in the other disciplines that surround theatre production while at the same time nurturing the spirit and conscience by ridding the student of the needless paraphernalia of insecurity and building a healthy sense of self esteem. This is achieved by creating a transparent relationship of equality and fair play. Creating a level playing ground where compassion and honesty replaces unhealthy competition and favoritism.

The reality of the state of theatre, in this country, is that nothing is for certain. While imagination, artistry and craftsmanship are very much alive and healthy, the industry (if one can call it that) has a very dynamic existence. Economics, personal taste, regional differences, politics as well as a host of other subjective parameters too numerous to mention present a tenuous landscape for young performers. Such a landscape can breed misperceptions, marginalization, self-defeatism and a big fish eats little Fish, selective morality. It is imperative that we train all of our future creative artists to have a strong sense of personal discipline in order to balance the vagaries as well as the successes of a creative life.  It is important to grow mature individuals and stress that artistry and craftsmanship comes from inside the self and while it goes without saying that the rudimentary mechanics of performance is primary it is also equally important to nurture the discipline of personal empowerment without ego. For a healthy successful life the student must know that they are more than just performers. They must be able to know when to remove the blinders in order to participate in society as an advocate of an art form and an ethical citizen obligated to provide a pathway for those following in their footsteps.

I feel it is important to strongly encourage young performers to be polymaths. Exposing a student to all the disciplines associated with a stage production and allowing him or her to participate with total immersion in the practice of each discipline - from design to dramaturgy, from conception to construction. The total immersion in all disciplines creates a respect for and nurtures the value of cooperation and teamwork among individuals while valuing independent thought as the precursor to any larger idea. Creating an environment where a positive concordance of group and independent thought can coexist in the process of creating a piece of theatre fosters a deep appreciation towards all acts of creation and underscores the value of hard work.

Finally, it is paramount for the student to understand the history of our great art form. Knowing the creative movements and courageous artists that forged the pathway to the theatre we know today.  With a developed knowledge of the key artists, the movers and shakers, the thinkers and theorists the writers and poets an understanding emerges that theatre is a contextual statement (in flux) about the emotional and intellectual development of humankind.  To know one’s self, creatively, one must know one’s history. And to know one’s history one must have positive life skills that value learning, independent thinking and an equal partnership within the theatre community and beyond.