Kristi Dana Teaching Philosophy Throughout my years of acting training, teachers encouraged me to just tell the truth, to listen

and be in the moment. They said, dont work so hard and simplify. I continuously and diligently tried to make these adjustments. I would make small bouts of progress and then just as quickly fall back into habitual patterns. I was convinced that I was a poor actor and that I would never grasp these concepts. It was the voice and movement training at the Brooklyn College MFA Acting program that opened my eyes to the heart of what my acting teachers had been asking me to do and led me to develop my own teaching philosophy. As my former Professor and mentor Judylee Vivier wisely says, you teach what you need to learn. I learned, and now teach, that acting work is inextricably linked to work on the voice and body. My teaching philosophy is based on the belief that in order to listen, be in the moment, work less and simplify the student must be connected to his or her breath, in a physically released and open state and be using a free and resonant voice that can fully express the action being played. During my MFA training the directions teachers had given me finally made senseI now guide my own students towards a deeper understanding of these concepts. Beyond a firm knowledge of the anatomy of the voice and body as it relates to vocal production, support, alignment and use, when students leave my class, they are more open and willing to work from a place of vulnerability, understanding that in acting, vulnerability is power. They have learned and internalized the vocal warm-up sequence created by Chuck Jones (derived from the teachings of Kristin Linklater) and are able to use this as a tool to bring them into a psychophysical state of readiness. Through learned methods of tension release, they have found more ease in their acting, which has led them to be better listeners. They possess a keen awareness of their vocal, speech and physical habits and understand the importance of the actors dual-consciousness. They are able to quickly check-in and adjust their psychophysical state in order to be present in their work. My students leave my class speaking with support and on their authentic voice. They understand the importance of language, how to use it fully and how it informs character. They work off of impulse, are more spontaneous and are willing to play and take risks. My students also have tools to explore characterization from a physical, outside-in approach using the work of Rudolf Laban and Michael Chekhov. They leave with the ability to deeply personalize material, going beyond simple exterior choices and fully living in the world of the character. Through Viewpoints and kinetic exercises, my students have built a greater awareness of space and ensemble, which allows for a quick adaptability in any cast they become part of. My students trust themselves and learn to own their space and power. All of this enables them to work from a place of greater truth. Each student learns at a different pace and his or her challenges with acting in relationship to voice and movement vary greatly. Some have never developed access to their breath and hold their breath to protect themselves, some have built up deep-rooted blocks of tension or postures that protect them from existing in a place of vulnerability. Whatever the case may be, I ask my students to become deeply familiar with the self and to communicate that in journal work, so that I can best guide their personal journey throughout the semester. I bring in work from a variety of methods because I do not believe there is any one way in to the voice and movement work. I meet with my students individually and discuss challenges and triumphs alike. In an evaluation, one of my former acting students stated, This has been one of the most cathartic experiences of my life. Because each assignmentrequires the utmost amount of honesty, in all aspects, it pushes us to explore ourselves as adults. When I teach voice and movement, I become overwhelmed with passion. Admittedly, I get so excited I sometimes jump up and downIve been known to run around the room! My students often laugh at my enthusiasm, but tell me afterwards that I have inspired them and that they have never had a teacher that was as passionate, or cared as much about their growth. Teaching acting and voice lights a fire inside me and gives me hope that the students Im working with, whatever they end up pursuing in life, have become more open and receptive human beings who take up space, trust themselves and make their voices heard.