Teaching Statement
My philosophy of teaching has grown over the decade that I’ve been an educator with the help of books and workshops, but I’ve also made significant changes to my methodology based on what I hear from my students. The students are at the center of my core belief about education, which is that it should be accessible to everyone. Regardless of your identity markers, you should be welcomed into a learning environment and be able to succeed. When students leave my class, they have a grasp of the specific material I taught, but more importantly, they know that their voice mattered to me.
My teaching expertise lies squarely in the field of dramaturgy. The Foundations of Drama course that I teach each semester specializes in script analysis techniques and the basic tools of dramaturgical research that are integral to any theatre-maker’s education, regardless of their specific discipline. The course has evolved dramatically over the years that I’ve taught it; each semester ends with a constructive discussion with the students about their experience of the course content. What taught them the most? What felt like busy work? What do they wish we could have done? What can I do to make the next class’s experience better? Their thoughtful suggestions have led to decisions like switching from physical materials to digital platforms, employing hands-on activities in class to practice new techniques, and reducing anxiety with flexible deadlines and grading practices. Most notably, we recognized together that working with classical texts for our final project wasn’t serving the their needs as future artists. The next year, I changed the project by introducing contemporary plays solely by playwrights of color: Larissa Fasthorse, Qui Nguyen, and Tarell Alvin McCraney. The students were so appreciative, and their engagement with the project was deeper than I had ever previously seen. In the Fall of 2018, I was profoundly affected by the lobby display for a play that examined racism in very frank terms. Students from the community anonymously shared the racial discrimination they feel on a daily basis. In the next year, I revised the entire course, eliminating classical texts from the canon written by white men and replacing them with contemporary Black playwrights. Since then, I can see students genuinely enjoying the class and actively engaging with the difficult subjects that define the current events of our lives.
I scour my syllabus each semester and examine my teaching methodology to improve the learning experience for each and every student. In addition to the examples previously mentioned, I’ve attended many DE&I workshops in my own department and the teaching center to expand my knowledge of accommodations for neurodivergent and disabled students, to advocate for LGBTQIA+ students, and to support students with mental health issues. Most importantly, I listen to what any individual student tells me about themself and their needs. When we accept one another’s humanity, we can finally exist in a space and enjoy what we came to the classroom to do: learn about theatre.
My teaching expertise lies squarely in the field of dramaturgy. The Foundations of Drama course that I teach each semester specializes in script analysis techniques and the basic tools of dramaturgical research that are integral to any theatre-maker’s education, regardless of their specific discipline. The course has evolved dramatically over the years that I’ve taught it; each semester ends with a constructive discussion with the students about their experience of the course content. What taught them the most? What felt like busy work? What do they wish we could have done? What can I do to make the next class’s experience better? Their thoughtful suggestions have led to decisions like switching from physical materials to digital platforms, employing hands-on activities in class to practice new techniques, and reducing anxiety with flexible deadlines and grading practices. Most notably, we recognized together that working with classical texts for our final project wasn’t serving the their needs as future artists. The next year, I changed the project by introducing contemporary plays solely by playwrights of color: Larissa Fasthorse, Qui Nguyen, and Tarell Alvin McCraney. The students were so appreciative, and their engagement with the project was deeper than I had ever previously seen. In the Fall of 2018, I was profoundly affected by the lobby display for a play that examined racism in very frank terms. Students from the community anonymously shared the racial discrimination they feel on a daily basis. In the next year, I revised the entire course, eliminating classical texts from the canon written by white men and replacing them with contemporary Black playwrights. Since then, I can see students genuinely enjoying the class and actively engaging with the difficult subjects that define the current events of our lives.
I scour my syllabus each semester and examine my teaching methodology to improve the learning experience for each and every student. In addition to the examples previously mentioned, I’ve attended many DE&I workshops in my own department and the teaching center to expand my knowledge of accommodations for neurodivergent and disabled students, to advocate for LGBTQIA+ students, and to support students with mental health issues. Most importantly, I listen to what any individual student tells me about themself and their needs. When we accept one another’s humanity, we can finally exist in a space and enjoy what we came to the classroom to do: learn about theatre.
