Environment. Physical Imagination. Collaborate. Devise.
The elements of creation.
My first experience with the power of physical inspiration was through Uta Hagen’s embodiment of props and sets with the use of a physical score. The crystal glasses in a scene from Anton Chekhov’s Three Sisters began to take on weight, memory, and importance for my portrayal of Fyodor Kulygin. I began to understand the gravity of embodying the text as well as the physical body and space. The fascination and exploration of spatial awareness grew further with the study of Viewpoints and the progression of Jacques Lecoq. My artistic process truly took shape with the practice of Tatsumi Hijikata and Kazuo Ohno’s Butoh. Butoh revealed to me the power of imagery and movement to stimulate action and emotion. The principles of Butoh continue to influence my work whether it be with a fully produced spectacle or a devised piece using nothing more than bodies in an empty space. My process also expanded through the theories and practices of Konstantin Stanislavski, Michael Chekhov, Sanford Meisner, Stella Adler, Kristin Linklater, and Susana Bloch.The constant discovery of new perspectives drives the exploration of innovative and long-standing techniques.
In a recent collaboration working with Complicit Theatre Company, two of my colleagues and I devised the award winning The Asylum of Dr. Moreau, which premiered at The Orlando Fringe Festival. The success came from creating a consensual environment that encouraged risk and acceptance. We employed our various expertise of dance, script writing, classical training, fight choreography, puppetry, mask, and physical movement to devise a one act piece that created a surreal horror story. We challenged one another’s boundaries and imaginations by communally experimenting with each proposed idea and then solidified the show through group dialogue and critique. The process reaffirmed for me the value of trusting myself and my partners for the benefit of the show. This is something I seek to bring to each artistic encounter.
In the future, I look forward to immersing myself more in the practices of Jerzy Grotowski, Stephen Wangh, Intimacy Direction, and Stage Combat. I am interested in these areas of study to discover new means of developing my imagination, continue building solid collaborative efforts, and create stories of significance.