"You cannot create results. You can only create conditions in which something might happen."
-Anne Bogart
As a teacher of theatre, I believe it is of the utmost importance that students learn not just the skills to be a part of the theatre, but the process of the creation of art. Because theatre is the most collaborative of all arts, I am committed to ensemble building and collaboration; students must reach out to others as well as delve deeply into the self.
In order to create conditions in which students can thrive, it is fundamental that the teacher develops a safe learning environment. This is an absolute necessity in theatre classes, where students are often standing emotionally naked in front of their peers. Because of this, I teach fearlessness, physical and mental awareness, and the development of the imagination. I accomplish this through the Stanislavski based Michael Chekhov Acting Technique and a blend of meditation, the Viewpoints, and Suzuki.
Michael Chekhov's technique allows for succinct analysis of what the actor is doing in the moment. The ability to "spy back" on the work is one of the fundamental skills of this technique. Being able to articulate what the actor is actually doing in the moment is the foundation of an actor's development. By developing this awareness, students are able to know exactly what they are doing, which helps to overcome fear.
Study of The Viewpoints develops an awareness of the actor as an individual and the space as a whole. Feeling comfortable in a space is necessary for the ease of the actor; if an actor is comfortable in the space and with their place in it, they will be able to work through any situation that comes up within it. This helps the actor within the rehearsal process because of their ability to view and even feel the composition of the stage picture.
The Suzuki Method introduces the student-actor to the strength and energy held in the body. The rigorous physical work was created from a combination of martial arts, ballet, traditional Japanese theatre, and the activity of previous generations of Japanese life. It is difficult, and that is the advantage to the work. The work, in this case, is the discipline of form. This relates closely to the Chekhov methodology, which has a basis in the often-misunderstood Stanislavski technique. Chekhov, Suzuki, and Viewpoints share connections in form and imagination, and I find they compliment each other in profound ways. Connecting the movement forms of Suzuki and Viewpoints with the image based form work of Michael Chekhov allows for a powerful new approach to psycho-physical acting technique.
I teach directing with a foundation in the Viewpoints as a compositional tool and Michael Chekhov's foundation in story analysis and structure. Because I believe that all members participating in the theatrical process must respect and understand all aspects of the theatrical process, my student-directors must be able to build an ensemble and create a feeling of the whole. This is why my process for teaching directing begins with the creation of new works before moving into analysis and directing existing work.
I understand that the vast majority of students who pursue theatre after graduation may not do so as members of theatres composed of physical experimenters and ensemble-based devisers; they will more than likely look for work in local or national television commercials, audition for revivals of Hello, Dolly! or strive for that elusive Law & Order gig. I truly believe that the compositional, physical, and vocal work that I teach is fundamental to the complete education of maturing theatre artists and liberally-educated young thinkers, but I understand that it is vital to be equipped with the necessary means to mentor students in more traditional work and provide clear, constructive guidance. I understand that every artist must maintain their own creative individuality, and will not hold my students to the use of a single "right" technique. So long as the artist can articulate their work in a shared vocabulary, then the process is working.
I teach both acting and directing by combining discipline and play in my courses. I offer my students freedom to discover while maintaining a structure that will help to create the conditions in which they, and I, can learn. I offer more than theatrical technique by blending ensemble building and self-discovery, which helps the student-artist maintain creative individuality and will serve them as they continue their growth as artists and liberally-educated thinkers and citizens.
Zach Hartley