Actor

My foundation is in the Michael Chekhov technique, but I am influenced heavily by my training in Meisner and the Viewpoints. 

Everything starts with the imagination. Because an actor has a limited amount of personal experience, the imagination must be cultivated and utilized in order to maintain ease and beauty in the elevated world of the play.

I focus heavily on form as a means to relate story. My use of form is dictated by two necessities: the form constructed in my imagination as the ideal for the character, and the form necessary for the overall stage picture. Finding a balance between the necessities of the mise-en-scène and the imaginary body is paramount. Study of the Viewpoints has given me a connection to body and space that allows for a deep understanding of the construction of the stage picture as a whole. 

I firmly believe that if an actor is unable to articulate their craft, they are unable to reach their full potential. It is of the utmost importance to develop a vocabulary that allows the actor to share their experience on stage and in process with their directors and peers. My vocabulary begins with Stanislavski and is filled out by Meisner, Chekhov, and Bogart. Even if this vocabulary is not shared with the entire ensemble, it allows the actor to break down the walls between role and experience, fulfilling the psychophysical process of feeling, thinking, and doing, and turning the actor into a physical and emotional vehicle of storytelling.

To view my acting resume, click below.