TEACHING PHILOSOPHY
My teaching philosophy related to theatrical design has been developed through training in a liberal arts undergraduate program and an intensive MFA program. My experience as both a professional designer and educator has further refined these principles. I incorporate the following six pillars to create an atmosphere of academic rigor, joy in theatrical craft, and respect for students.
Student designers develop through guided self-exploration rather than one prescribed methodology.
In my teaching I use the Socratic method. By allowing students the chance for self-examination, I believe that they come away with a deeper understanding of the topic and ongoing improvement of critical thinking skills. This also helps develop an individual’s design process and methodology. The ability to ask, evaluate, and answer ones own questions is a vital design skill that is included in my classroom.
Critical thinking is the foundation to the design discipline.
Deep critical thinking about story is at the core of being a designer. Before we pick up a paintbrush or begin to sketch, we must engage with a script in a disciplined manner. Our intellectual and emotional responses to a piece shape not only the design created, but also the conversations and collaborations between the director and fellow designers. In addition, students need to be adept at self evaluation. Students develop these skills through rigorous script analysis and ongoing review sessions where they analyze their own work and the work of their peers.
Hands-on curriculum is necessary in the design field.
I structure my courses so that in-class activities support the practicing of the visual communication techniques used by professional designers. I use a number of in-class skill development exercises and semester-long assignments where students create designs for a specific script. For example, a lecture on color theory would be augmented by a hands-on, in-class exercise where students use color media to explore different color schemes. Those skills would be put to use in a homework assignment where students create a set rendering for a show they have been designing all term.
Succeess in theatrical design is not tied to perfected fine art skills.
Much of theatre design focuses on the need for drawings and sketches. In my teaching experience, I have found some students to be stymied by fears of drawing. In response, I teach multiple methods of visual communication giving students various avenues to express their design ideas. Visual research, collage, written analysis, verbal presentation, and model making can augment a sketch. By not focusing solely on drawing technique, design becomes more accessible to a wider number of students.
Design should not be learned in a vacuum, but rather in tandem with other interests.
One of the great joys of being a theatrical designer is that each project brings new subjects to explore and ideas to tackle. A mind curious about disciplines outside the arts makes for a more engaged artist. I encourage students to take classes outside theatre as all disciplines speak to each other and, by taking courses side-by-side, we deepen our understanding of both.
I believe in dreaming big and taking chances, and that you learn just as much from a failure as a success.
I hope to create an atmosphere in my classroom where bold attempts are greeted with encouragement, regardless of outcome. Unlike the professional world, university is a place when there are fewer consequences for a “failed” design. I encourage students to try new ideas and techniques while in this supportive atmosphere, and expose them to additional ideas through live performance attendance and film viewing. I believe in inspiring thoughtful risk-taking and encouraging students to dream big.
Our development as a whole person is a vital part of what we bring to a project as designers and artists. I teach the technical practice necessary to work as a theatrical designer, while also focusing on the just-as-important critical thinking skills and individual student interests. By employing these pillars I encourage the academic rigor, creativity, and self-reflection needed for student success.
Student designers develop through guided self-exploration rather than one prescribed methodology.
In my teaching I use the Socratic method. By allowing students the chance for self-examination, I believe that they come away with a deeper understanding of the topic and ongoing improvement of critical thinking skills. This also helps develop an individual’s design process and methodology. The ability to ask, evaluate, and answer ones own questions is a vital design skill that is included in my classroom.
Critical thinking is the foundation to the design discipline.
Deep critical thinking about story is at the core of being a designer. Before we pick up a paintbrush or begin to sketch, we must engage with a script in a disciplined manner. Our intellectual and emotional responses to a piece shape not only the design created, but also the conversations and collaborations between the director and fellow designers. In addition, students need to be adept at self evaluation. Students develop these skills through rigorous script analysis and ongoing review sessions where they analyze their own work and the work of their peers.
Hands-on curriculum is necessary in the design field.
I structure my courses so that in-class activities support the practicing of the visual communication techniques used by professional designers. I use a number of in-class skill development exercises and semester-long assignments where students create designs for a specific script. For example, a lecture on color theory would be augmented by a hands-on, in-class exercise where students use color media to explore different color schemes. Those skills would be put to use in a homework assignment where students create a set rendering for a show they have been designing all term.
Succeess in theatrical design is not tied to perfected fine art skills.
Much of theatre design focuses on the need for drawings and sketches. In my teaching experience, I have found some students to be stymied by fears of drawing. In response, I teach multiple methods of visual communication giving students various avenues to express their design ideas. Visual research, collage, written analysis, verbal presentation, and model making can augment a sketch. By not focusing solely on drawing technique, design becomes more accessible to a wider number of students.
Design should not be learned in a vacuum, but rather in tandem with other interests.
One of the great joys of being a theatrical designer is that each project brings new subjects to explore and ideas to tackle. A mind curious about disciplines outside the arts makes for a more engaged artist. I encourage students to take classes outside theatre as all disciplines speak to each other and, by taking courses side-by-side, we deepen our understanding of both.
I believe in dreaming big and taking chances, and that you learn just as much from a failure as a success.
I hope to create an atmosphere in my classroom where bold attempts are greeted with encouragement, regardless of outcome. Unlike the professional world, university is a place when there are fewer consequences for a “failed” design. I encourage students to try new ideas and techniques while in this supportive atmosphere, and expose them to additional ideas through live performance attendance and film viewing. I believe in inspiring thoughtful risk-taking and encouraging students to dream big.
Our development as a whole person is a vital part of what we bring to a project as designers and artists. I teach the technical practice necessary to work as a theatrical designer, while also focusing on the just-as-important critical thinking skills and individual student interests. By employing these pillars I encourage the academic rigor, creativity, and self-reflection needed for student success.
STUDENT TESTIMONIAL
"I have a great deal of respect and admiration for your work and teaching. While I have always felt attracted to stage performance, your class awakened and nurtured a love of scenic design within me. You have sincerely been one of my favorite professors." UW Drama 210, Fall 2019
"The professor is knowledgeable, caring, not strict but has principles that I really appreciate. The class is well structured and the feedbacks are very well-thought and useful. Great class!" UW Drama 414, Fall 2020
"The professor is knowledgeable, caring, not strict but has principles that I really appreciate. The class is well structured and the feedbacks are very well-thought and useful. Great class!" UW Drama 414, Fall 2020