I believe that theatre is essential to the existence, continuation and celebration of our society. The fact that theatre brings up questions both prosaic and profound, and that it can be linked to virtually all our present humanistic studies justifies its presence in an educational community where examination of ideas and the development of the habits of thinking, of learning and of discovery are the central reasons for the community's existence.  This development of thinking, of learning and of discovery directs me as a teacher.  I believe that the basic nature of art, as well as that which propels the wish to create art, is a desire to better understand human existence.  The art of theatre is a search for that understanding and a search for a way to better illuminate the human condition, and acting is, to many, the most essential element of this art form.

        I believe that anyone wishing to undertake the arduous task of the study of acting should be given as much encouragement and guidance as possible.  As a teacher I strive to encourage student actors to pursue theatre in a manner that best suits their individual interests, aspirations and abilities. The wonderful thing about teaching actors is the requirement for individualized teaching and attention which makes it unlike any other kind of instructional academic environment.  My goal is to challenge and nurture the creative energy of students while fostering enthusiasm on their part for personal discovery of the acting process.  I believe that the acting process is different for each student.  While I agree there are basic skills an actor needs to understand regarding voice, movement, text analysis and period/styles, it is essentially an individual process which each actor must develop and continue to refine according to what works best for the actor.

        Language and movement are the tools of this art for they are the essence of what theatre is about -- communication. Communication is the basis for the relationship between actor and audience as well as actor and actor.  I value the use of non-text exercises as a tool to free the beginning actor's imagination and awareness of theatrical expression.  I also believe that acting is doing, and that an actor must get acquainted with words and theatrical language as soon as these initial introductions are complete.  I feel the initial text that an actor comes into contact with should foster the communication skill of actor to actor. Scene work is vital for an actor to understand that, more often than not, acting is as collaborative an art as any other aspect of theatre.  An actor's responsibilities on stage are not only to the text and the audience but also to the other actors that are sharing the larger responsibility of the play.  It is more often than not that the basis for the communication of the play to the audience is fulfilled through this relationship among actors, and not a singular relationship between one actor and an audience.

        More and more I find it imperative that I instill in the young actor that acting methods are not set in concrete.  There is no one correct way to act but in fact it may be a mixture of methods one has to discover on ones own through the process of study and trial and error.  Too often, actors are taught there is one way to act instead of realizing that different styles of drama will require different approaches to acting and performance.

        In order to be an effective facilitator of this discovery process a teacher has to have practical knowledge of the art of acting as well as a thorough and complete understanding of theatre. Continual involvement in theatre activities outside of the classroom is vital for an acting instructor. Art, or at least the creation of art, should never be stagnant.  Theatre is evolutionary, and thus, it is vital that the acting instructor be a part of this evolution.

        A good acting teacher has the ability to help students see clearly their strengths as well as their weaknesses.  A successful acting teacher instills fundamental skills such as: creating character; having a sense of dramatic action; integrating internal rhythm and tempo as related to movement; being able to recognize and portray conflict; and understanding the power behind dramatic language.  The acting instructor must also have a passion for teaching in order to inspire students, especially due to the personal nature of acting study, and to push themselves beyond the realm of preconceived personal limitations or expectations.  Probably the most important attribute of a successful instructor is the ability to communicate.  Good communication skills are essential in order for students to fully benefit from the vast knowledge of an effective acting teacher.

        Because the nature of acting study is unlike most other forms of academia, it is vital that the teacher be sensitive to the individual needs and frustrations as well as the skills and assets of each student.  Understanding and sensitivity to the personal investment each student has in the pursuit of his or her art is paramount to fostering young actors who are attempting to become artists.  Finally, and possibly most importantly,  the effective instructor instills in a student a clear understanding of the discipline necessary to call oneself an artist in the world of theatre.

        Theatre in our society is dependent upon artists strongly committed not only to their art from a personal standpoint, but also to the larger picture of the art of theatre and its essential existence in our society.