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    • HOME
    • TEACHER
    • THEATRE
    • WRITER
    • PORTFOLIO
    • NEWS & REVIEWS
    • CONNECT
  • HOME
  • TEACHER
  • THEATRE
  • WRITER
  • PORTFOLIO
  • NEWS & REVIEWS
  • CONNECT

TEACHING ACROSS DISCIPLINES

Teaching Philosophy

  

As a nontraditional student for the latter part of my life, I have found that the best approach to teaching is one the encompasses having an open mind and a giving heart. Each student brings to the table a unique point of view cultivated by their own life experiences. I believe that creating a learning environment that includes active listening and engaging and collaborating with students yields a more effective and impactful class.


In theatre, there are so many different disciplines that flexibility and adaptability are key to running a successful program. Whether teaching a musical theatre camp of thirty elementary and middle school students or leading a lecture on playwriting, meeting people where they are and tailoring the curriculum or materials to that space is vital to creating a conducive learning environment. An example of this would be a lecture on the Cave of Altamira, arguably one of the earliest documented theatrical performances. For my Senior Performing Arts Class at Tarrant County College, I presented the material to retired learners through a lecture on the subject, supported by a PowerPoint and a guided notes handout. When presenting the same lecture to middle school students, I created a cave in my classroom where students could see, touch, and feel the Cave of Altamira, experiencing the material face-to-face.


The same is true for instructing writers across multiple genres. Understanding the different learning styles and modalities (online, classroom, community spaces) is important, and I try to incorporate materials that fit a student’s particular learning style, whether auditory, visual, kinesthetic, or a combination. As a kinesthetic learner myself, I appreciate it when an instructor takes the time to adapt the curriculum to my learning strengths. 


While this is important, instruction in the theatre arts also raises issues where a student’s safety is paramount, something I do not take for granted. Whether engaging an intimacy coordinator for a production or following OSHA workplace safety standards, I understand that there is more to building a program than just what’s on paper. The same is true for writers, whose sharing of their work can be vulnerable, so establishing a set of protocols that the class follows is vital to creating a safe learning space.  


I am a lifelong learner and consistently looking for ways to stretch and grow as a person and educator. I hope to bring that level of excitement for learning to any organization I am employed with. 

Woman smiling and holding a large trophy at an indoor water park.

TEACHING PORTFOLIO ARTIFACTS

SAMPLE WORKSHOP SYLLABUS: Creating Page-Jumping Dialogue (pdf)Download
SAMPLE WORSKSHOP PRESENTATION: Creating Page Jumping Dialogue-Lesson 1: What’s In A Name (pdf)Download
SAMPLE WORSKSHOP PRESENTATION: Creating Page Jumping Dialogue-Lesson 2: Who Are You? Who? Who? (pdf)Download
SAMPLE WORKSHOP EVALUATION: Creating Page-Jumping Dialogue (xlsx)Download
SAMPLE THEATRE TEACHING PRESENTATION: Greek Masks (pdf)Download
SAMPLE THEATRE TEACHING LESSON PLAN: Greek Masks (docx)Download
SAMPLE THEATRE LECTURE NOTES: Greek Masks (docx)Download
RESUME: Professional 2026 (pdf)Download

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