My work centers in Michael Chekhov, Jerzy Grotowski, Vsevelod Meyerhold, and, of course, Jacques Lecoq (which I was trained in at NU). I am beginning to explore interesting areas combining Jungian archetypes and the fore mentioned theorists and practitioners.
Starting to delve into true mask making with carved wooden forms for molding leather, still early on in the development of my technique though. Much better at clay than at wood at this point.
Developing my own neutral mask, which I call an "Open" mask, in honor of Joe Chaikin, and because I feel 'neutral' suggests a passive engagement, whereas open or, "relaxed/ready”, are much more somatically active.
Once I master the NEUTRAL/OPEN mask form, I will move on to creating masks for the Jungian archetypes, and then I will examine Commedia masks as well. This is a "ten year plan" to be sure, though my work in the Jungian archetypes is not dependent on masks.
I love working with the students, professionals bore me, well not bore, I have worked with incredibly creative and imaginative actors, but for the most part there is a great deal of resistance and most have forgotten the joy of playing, they are too worried, too busy getting to the end product, which is a flaw in our theatre. Students however, if you can grab them, they will walk a mile or two with you. I love watching the process, as a director as well. Growth and movement to discovery, both are exhilarating and energizing to watch.
The most difficult thing in the training is the challenge of getting all involved to let go of their desire to control. . .
Control their bodies, their creative output, their interaction, their speech, their dress, their engagement in life . . . THEIR FEAR
Movement training is all about release! Release of the self-conscious and the inhibiting, engagement of the unknown, the leap into the darkness.
I think if we as mentors and guides would focus less on the ‘via negativa’ and allow/prepare the students for the journey ahead, there might be a more effective and useful learning process, maybe. Letting students in on the fact that they have a new and perhaps, unfamiliar, path ahead of them is not robbing them of their ability to find their own answers; it is merely preparing them for the unknown, if that is possible. Especially in American training programs where, if there is a movement component at the undergrad level, it is only one aspect of the training, not necessarily why the students are in the program, perhaps not something that they are familiar with, or know how to respond to. So many teachers fret over how much should be explained and how much should be left for the students to experience, I do as well.
I have found that each class is different, obviously, and that there is no right or wrong answer, one moment leads to the next with each engagement. One must have a plan, a pedagogy, however rigidity leads to alienation and resistance in the students. As educators of theatre we must engage as artists. In other words, there are no universal answers, each teaching moment is in the now, each moment is liquid, flowing, living and breathing. As we teach more we become more capable of reacting to the subtle impulses and signals of the group, we become better at reading the crowd and adapting to what will be a more effective course of engagement for them.
It isn’t about what we did when we were students; how much more disciplined and focused we were, how much more creative and independent we THINK we were, it is about being in the moment as a mentor and a teacher, and addressing the challenge at hand, which is to teach the group of students in front of you, on any given day, at any given moment. What do they need to succeed, to build confidence? What do they need to fail bravely, get back up, and try again?
Those are the questions to be asked as a teacher.
Starting to delve into true mask making with carved wooden forms for molding leather, still early on in the development of my technique though. Much better at clay than at wood at this point.
Developing my own neutral mask, which I call an "Open" mask, in honor of Joe Chaikin, and because I feel 'neutral' suggests a passive engagement, whereas open or, "relaxed/ready”, are much more somatically active.
Once I master the NEUTRAL/OPEN mask form, I will move on to creating masks for the Jungian archetypes, and then I will examine Commedia masks as well. This is a "ten year plan" to be sure, though my work in the Jungian archetypes is not dependent on masks.
I love working with the students, professionals bore me, well not bore, I have worked with incredibly creative and imaginative actors, but for the most part there is a great deal of resistance and most have forgotten the joy of playing, they are too worried, too busy getting to the end product, which is a flaw in our theatre. Students however, if you can grab them, they will walk a mile or two with you. I love watching the process, as a director as well. Growth and movement to discovery, both are exhilarating and energizing to watch.
The most difficult thing in the training is the challenge of getting all involved to let go of their desire to control. . .
Control their bodies, their creative output, their interaction, their speech, their dress, their engagement in life . . . THEIR FEAR
Movement training is all about release! Release of the self-conscious and the inhibiting, engagement of the unknown, the leap into the darkness.
I think if we as mentors and guides would focus less on the ‘via negativa’ and allow/prepare the students for the journey ahead, there might be a more effective and useful learning process, maybe. Letting students in on the fact that they have a new and perhaps, unfamiliar, path ahead of them is not robbing them of their ability to find their own answers; it is merely preparing them for the unknown, if that is possible. Especially in American training programs where, if there is a movement component at the undergrad level, it is only one aspect of the training, not necessarily why the students are in the program, perhaps not something that they are familiar with, or know how to respond to. So many teachers fret over how much should be explained and how much should be left for the students to experience, I do as well.
I have found that each class is different, obviously, and that there is no right or wrong answer, one moment leads to the next with each engagement. One must have a plan, a pedagogy, however rigidity leads to alienation and resistance in the students. As educators of theatre we must engage as artists. In other words, there are no universal answers, each teaching moment is in the now, each moment is liquid, flowing, living and breathing. As we teach more we become more capable of reacting to the subtle impulses and signals of the group, we become better at reading the crowd and adapting to what will be a more effective course of engagement for them.
It isn’t about what we did when we were students; how much more disciplined and focused we were, how much more creative and independent we THINK we were, it is about being in the moment as a mentor and a teacher, and addressing the challenge at hand, which is to teach the group of students in front of you, on any given day, at any given moment. What do they need to succeed, to build confidence? What do they need to fail bravely, get back up, and try again?
Those are the questions to be asked as a teacher.