Acting with Parke F.

Teaching Philosophy “It’s not what you know, it’s who you know.” We, as theatre artists, have heard this time and time again in acting classes, from casting directors, and from family and friends. I believe that the “who” may get an actor in front of certain people; however, it is the “what” that will keep them working. As an instructor, I encourage my students to keep networking while they delve into the nuts and bolts of their craft. As theatre artists, we must have a working knowledge of many different aspects of the world: business, finance, arts, humanities, science, politics, and history. This knowledge will allow the artist to fuse his/her personal or imaginative experiences with the world of the play. I help develop this in artists through practical script analysis for the actor, the four C’s (concentration, contact, connection, communication), awakening the imagination, personalization (sensory details and subtext), action/objective, and characterization/transformation. I strive to have these artists understand these concepts intellectually, vocally, and physically. I want the actors whom have trained under me to have a precise process, and the will power that will help them hone their craft while simultaneously grounding them into their careers. To develop these skills, I feel it is essential that the artist needs to first find their “universal self.” By adjusting posture and regionalisms in their speech, their instrument will be open and ready for the work and the possibility of discovery. Then the actors can discover their character’s universal self; funnily enough, by adjusting their posture and speech style. To accomplish this I use a Stanislavski based acting technique with exercises from Meisner, Hagen, and Improv. For movement training, I use a technique called Dynamic Presence Training, which uses the Suzuki Actor Training Method, Plastiques, Stage Combat, Martial Arts, Slow Tempo Exercises, Lecoq, Laban/Bartenieff, Vinyasa Flow Yoga, and Contact Improv to help establish an easy but present actor on the stage. Then vocally, I use techniques based off exercises from Linklater and Fitzmaurice to help with opening up the resonators. Finally, for speech I use exercises from Lessac, Roy Hart, and Edith Skinner. When teaching, I expect my students to feel that they have many different ways to connect with their partners onstage, as well as with stage managers and directors. I want them to feel like they can handle anything given to them. Also, I want them to be able to critique and adapt other actors’ choices, so they can either gain that certain actor’s skill or avoid that actor’s choice. I hope that my students will gain imagination, precision, speed, intelligence, and passion.