Rebecca really jump-started our interest. She’s so inspiring. Rebecca made the class more exciting and more challenging at the same time.” |
I'm fortunate to have been taught by masters, and I humbly carry their lineage with me. But the methodology I use today isn't something I memorized; it’s something I built through years of trial and error.
Although I work in many capacities, I really only have one mode of operation. Whether I'm in a rehearsal hall, onstage, at my desk, or in a conference room, the physics are the same. I look for the bones: the simplest shape that holds a thing together. Then I look for what's vibrating against it.
There's a specific question I return to again and again. It's a question most of us associate with the monocle-popping indignation of a character in a farce, but for me it's the only question that matters:
"WHAT IS THE MEANING OF THIS?!"
Although I work in many capacities, I really only have one mode of operation. Whether I'm in a rehearsal hall, onstage, at my desk, or in a conference room, the physics are the same. I look for the bones: the simplest shape that holds a thing together. Then I look for what's vibrating against it.
There's a specific question I return to again and again. It's a question most of us associate with the monocle-popping indignation of a character in a farce, but for me it's the only question that matters:
"WHAT IS THE MEANING OF THIS?!"
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In English, "mean" is a rare verb because we use it both where we begin and where we end up. Beginning: I mean to say ... (INTENTION) Ending: What this means to us ... (IMPACT) |
It was really useful to do an exercise that required such specific and subtle listening. And not just the hearing kind of listening, whole body listening.” |
The reason I'm effective in a classroom is the same reason I'm effective on the page: I don't use shortcuts. I value candor over cleverness. My job is to listen carefully to the noise on the surface -- the "meaning" of the effect we're producing -- and then listen beyond it to make out the thrum of vibrations down deep.
People often ask how I manage so many different roles. To me, each is a different container for the same action.
In writing, I look for the meaning of the impulse.
In directing, I look for the meaning of the picture.
In strategy, I look for the meaning of the structure.
It’s all navigation. Meaning is the keel: the weight that allows us to stay vertical in deep water and help others do the same.
People often ask how I manage so many different roles. To me, each is a different container for the same action.
In writing, I look for the meaning of the impulse.
In directing, I look for the meaning of the picture.
In strategy, I look for the meaning of the structure.
It’s all navigation. Meaning is the keel: the weight that allows us to stay vertical in deep water and help others do the same.
RECEIPTSThe work is usually its own best evidence.
For a focused look at my production history, see my Directing CV. For my current writing projects and accolades, see my Playwriting CV and/or my listing on New Play Exchange. For a comprehensive history of my work, the Full CV is available. DIRECTING
PLAYWRITING
COMPREHENSIVE
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One of the best classes and instructors I have ever experienced. (And I’m no kid.)” Far exceeded my expectations, surmounted my highest hopes. My co-writers were diverse but uniformly serious and skillful.” How can I count the ways? Safe but rigorous, opened so many creative doors for me. Smart, literate instructor. Great, great class.” I produced more material than I thought possible. It deepens my understanding of process and who I am as an artist.” Rebecca is a very sensitive instructor who believed in knowing who we are as people. She believed that influenced our writing and POV. Boy was she right! I learned a ton.” |