1. A Teacher Prepares

It turns out ambition pays off. When I moved to New York in 2009, just short of a year after graduating from college, it was my dearest wish that, if I could not be acting, I could make my living as a teacher. Of acting, obviously, or one of its attendant techniques (like voice). I'd had some experience as a TA in undergrad, as well as teaching in summer programs for high schoolers and similar. This soon developed into a desire to create a three-tiered career as an actor, director, and teacher. Diversifying my skills meant that I might be able to make a career entirely in the theater instead of pushing papers or delivering plates of food between acting gigs.

I soon discovered no one in New York was interested in a 22 year-old BFA grad as their teacher, at least not at any institution I applied to. Enter the graduate school idea. Acting-wise I knew I was a character actor with a lot of time before I matured into my "type." Grad school would help me utilize that time wisely, while also developing skills in the other arenas of my interest (like directing and teaching). I'm fortunate to be at an MFA program that encourages its actors in their development as well-rounded theater artists.

And, lo and behold, entering my second year I have been given my first job as an acting teacher, teaching a semester-long Intro to Acting and Directing class for first-year undergraduates. This was a position I coveted and worked hard for. As soon as my appointment was announced the anxiety set in. I've taught workshops, I've taught week-long technique classes. I've never developed my own curriculum and I've never been responsible, alone, for an entire group of students over a span of months. I have a good deal of training, but my own process is largely instinctive and changes from show to show. I'm certainly not an expert in the progression of any particular "acting technique."

However, here are my strengths:

1. The theater fascinates me endlessly.

2. Human beings fascinate me endlessly.

3. On a good day I'm very articulate and, I've been told, give good notes and observations in class.

4. I've had very, very good teachers in the past who I can steal from.

5. I'm a good actor.

6. I am a leader. At least where theater is concerned.

These things, I hope, must count for something.

I'm writing this blog to help me articulate my point of view as a teacher as well as to develop ideas for my curriculum (topics, exercises, leading questions, projects). Why not do it in a regular journal? I am, unfortunately, an actor to the bone and the idea of an audience (real or imagined) always helps.

As for the class itself, this is what I know right now:

1. It will meet two days a week, for two hours and twenty minutes. I've done the math (yes, I have) and--taking breaks and built-in rehearsal days into account--I will have approximately 24 full classes equalling 56 (roughly) total hours.

2. I have to keep reminding myself that it is an INTRO class and it's my responsibility to introduce my students to a variety of techniques and values, not to train them. As usual I have to keep myself from biting off more than I can chew.

3. Traditional scene-study is discouraged. This is generally reserved for more advanced classes. This is part of what makes developing this curriculum difficult.

4. Uta Hagen's A Challenge for the Actor is the required text. I've read both of her books and have done her exercises, though this was concentrated in my undergrad training which was some years ago now.

5. Study of plays is part of the curriculum. I have chosen Doubt by Shanley, Intimate Apparel by Nottage, The Normal Heart by Kramer, and Seagull by Chekhov (Columbus translation). I chose these plays because I like (sometimes love) and know them, for the particular acting/directing challenges the present, and also for their importance in the canon of dramatic realism. As it stands, each play will be studied/used over four class periods. I have no idea how I am going to teach them.

6. I will probably have 16-18 students in my class. They will run the gamut from experienced actors-to-be to complete newbies.

7. Right now the only definite in my curriculum (aside from the plays I've chosen) is that the students will keep an Artist's Journal they will write in both in and outside of class.

8. I want the class to encompass topics including acting technique, voice and text, physical theater, ensemble building, directing technique, and aesthetics.

And that's about all of the known facts. To come: Reflections on the first three chapters of Hagen's A Challenge for the Actor.