During my twelve-year tenure teaching Theatre at the college level, I have become increasingly convinced that the greatest challenge educators face is convincing students that the study of acting is a structured discipline, and not a mystical eruption of “talent.” Many students that gravitate toward the study of Theatre do so under the mistaken assumption (propagated by certain educators at the High School, University and Professional levels) that unlike Medicine, or History, or Music, their ability to be successful on stage is perhaps incapable of being perfected; best summed up in the oft-heard pseudo-philosophy: “You either got it or you don’t.” I believe this is precisely why there is both so much fear in the nascent actor, and also why there is so much resistance to taking courageous chances in students who already possess higher levels of experience. I have always distrusted the term “talent,” because its value forever resides in the eye of the beholder. “Technique,” however, is palpable- it is teachable, it is repeatable, and most of all, it is something that can always be relied upon by both the student and the professional.
In my classes, I approach every single student as if they have the ability not merely to act, but act proficiently. I design my classes around the thematic focal point that each student has a fascinating story to tell, and that the most passionate and interesting performance begins and ends with a courageous exploration and revelation of that story. I have always found it much more effective, not to mention personally rewarding, to allow my blueprints to conform to the students, rather than shoehorn my students into conforming to my blueprints. I consistently remind myself that I could not possibly possess ready-made answers to solving a particular student’s problems because I have never truly encountered that student before. If we start from the assumption that each student has a rich and absolutely original presence to offer, than we must be continually prepared to allow that student to shape our instruction.
I train Actors to love text, to relish it, to adore it, for it is an actor’s personal connection to a single, seemingly simple word that fuels every single performance worthy of being watched, much less paid for. The particular way words are charged for us- and charged differently depending on our singular experiences- is precisely the tool an actor needs to powerfully and conclusively define him/ herself onstage. Certainly, the word “Mother” arouses different images for you as it does for me… and hopefully, for the sake of our therapy bills, both differ from Hamlet’s.
I deeply believe in the study of Classical Theater- and not only because it single handedly saved me from a double major in History and Political Science. On a practical level, if you investigate the production histories of most any established Theatre’s season, you will find a heavy reliance on the Classics- due both to the non-existent royalties, and also in deference to audience recognition of those titles. Insufficiently training students to take advantage of this fact is no less egregious than sending out Medical Students with no knowledge of obstetrics. More importantly, on a training level, it distresses me how reticent many departments are to present the greatest stylistic challenges to their students. They fear perhaps turning away prospective majors with the heavy demands of classical training, a grave error. Any serious student not looking for an art credit who pokes their nose into an acting studio is hoping to find… Acting. They are hoping to catch a glimpse of what it is truly all about, yet there are those departments that insist on presenting them with “Acting Light,” in hopes the easy enjoyment of that will attract them to further study. If a student steps onto a Football field, they will get tackled. If they take Chemistry, they had better be prepared for the Periodic Table. If a student steps into a Theatre, they should be challenged with intense acting training, with technique designed for professionals, and with the most demanding material. Acting is also, of course, fun- a tremendous amount of fun- but in my classes, it is the WORK and the accompanying fascination with personal discovery that is enjoyable, not the avoidance of it.
I pride myself in the ability to create an environment where the study of Acting is demystified to the point where students can work at any time, regardless of any mental state they may be in. If they are tired, I have them begin work from that experience (to see where it may lead), if anxious or bored, from those as well, but always to work. I infuse that ethic into my students- to always approach Acting with a fierce and relentless work ethic. It is that very ethic that will prepare them for the lack of direction they will receive from the profession, for the months without employment, and also the same ethic that kicks in when they are in fact employed, supporting their performance (and their job) when it is challenged with the demands of a multiple month run of eight shows per week.
When directing students in production, I always place the bar of accomplishment precisely where I would in a professional production- the only way to teach professionalism is to simulate it. On the other hand, I am forever cognizant that a college director is teaching at every moment, and that performance is the laboratory to flex the creative muscles developed in class. The moment the college director forgets that the importance of the final product pales in comparison to the lessons learned on the journey taken, he/ she has abrogated their primary responsibility as an instructor.
I also make it a point never to direct or teach to the lowest common denominator. If it is true that statistically only one student in every twenty-five will make it, I owe it to that student to teach directly to them. The trap, of course, is in our picking that student, when it is the Profession itself that ultimately does so. Our job is to treat every student as if they were the one destined to lead a life on stage or film- ensuring we never overlook that student in our instruction. In my heart, I disbelieve that percentage, but in the event it is indeed so, I am preparing every student to do the most with that opportunity.
The actual profession of Acting is brutally variable. There is so much that is determined by others in this field, that I am determined to provide my students with a concrete weapon against the tremendous self doubt that can accompany that variability- the knowledge that they are practicing a finely honed, proficiently practiced technique, and when the correct fit of audition and role come their way, that they will be able to exploit that possibility to its fullest.