"During my time working with Eric, I gained experience that would last me a lifetime. He challenged us to understand what it means to play a character and the proper ways to live those stories. Learning from him allowed me to be a better performer and has even flowed into my work as a director." - Ansley Browning
"Eric's ability to create a welcoming environment where students can be unafraid to take risks is a blessing, and his ambition to expose his students to new works and a variety of training methods is commendable. I have witnessed and experienced first-hand the impact that Eric's joyful energy and passion to pursue knowledge can have on students, and I am grateful to have been able to call him my professor!" - Emily Moreland
Teaching Philosophy
As a teacher, I'm dedicated to creating meaningful artistic experiences for young artists. I ask questions to prompt curiousity, offer them tools/techniques, and provide them the space and time to make meaningful connections and grow as artists. I truly believe the study of theatre is a life long endeavor, there's always something to learn, and that anyone can make immense progress with a strong work ethic, an inventive imagination, and the determination to succeed.
Within a secondary school education, a theatre class allows students to develop their vocabulary, reading & writing skills, and most importantly their tolerance and empathy. A theatre class offers a level of kin-esthetic learning that cannot help but enhance a student's ability to stay present in academic lecture courses.
Through the study of the craft of acting, students grow into themselves. They learn to be driven by curiosity, to take up space, harness time, and offer and share their own vulnerabilities in a safe and channeled way. These qualities and benefits exist across multiple methodologies, and I draw on and connect to many of them in my own teaching. My work as an actor and teacher is rooted in Stanislavsky's System, but encompasses many other techniques including the exercises of Michael Chekhov, the voice work of Fitzmaurice® & mVm®, and Anne Bogart & Mary Overlie's 'Viewpoints' physical acting training.
Acting 'well' requires regular voice & movement work, self-reflection and self-understanding, careful analysis of the text, a graps of the deepest needs and desires of the character, listening and responding to stimuli, active breath, attention to details, and trust in oneself and the ensemble.
I approach all my young students as wise and sensitive beings with much to offer the work. I listen deeply to them, I believe in them, I am fully present with them, and I allow them to constantly delight and suprise me. My classes abound with creative dialogue and dynamic discovery.
Within a secondary school education, a theatre class allows students to develop their vocabulary, reading & writing skills, and most importantly their tolerance and empathy. A theatre class offers a level of kin-esthetic learning that cannot help but enhance a student's ability to stay present in academic lecture courses.
Through the study of the craft of acting, students grow into themselves. They learn to be driven by curiosity, to take up space, harness time, and offer and share their own vulnerabilities in a safe and channeled way. These qualities and benefits exist across multiple methodologies, and I draw on and connect to many of them in my own teaching. My work as an actor and teacher is rooted in Stanislavsky's System, but encompasses many other techniques including the exercises of Michael Chekhov, the voice work of Fitzmaurice® & mVm®, and Anne Bogart & Mary Overlie's 'Viewpoints' physical acting training.
Acting 'well' requires regular voice & movement work, self-reflection and self-understanding, careful analysis of the text, a graps of the deepest needs and desires of the character, listening and responding to stimuli, active breath, attention to details, and trust in oneself and the ensemble.
I approach all my young students as wise and sensitive beings with much to offer the work. I listen deeply to them, I believe in them, I am fully present with them, and I allow them to constantly delight and suprise me. My classes abound with creative dialogue and dynamic discovery.
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