Hello, and thank you for taking the time to view my poster. I’d like to use this moment to give you a bit more background about the elements on display. This poster reflects two main directions my work has taken over the past three to five years, but incorporating 25 years of practice. My teaching philosophy has grown in response to hegemonic systems, and it has developed into a dialogic approach that emphasizes inclusion.
A prominent element of this display is a card deck I created for actors. It’s based on hexagonal thinking, a learning tool that helps people lay out ideas, trace connections between concepts, and examine the spaces in between. These spaces often hold the most tension, the most potential for questioning assumed hierarchies and institutionalised biases in actor training. I see this as a critical site of resistance to deterministic and binary thinking; both of which can reinforce systems that justify control and limit individual expression.
My work is, in a sense, a quiet manifesto. I express it through an art form that comes with inherited methods and established rules, many of which are treated as fixed. I want to open space for actors to center their personal stories, to let each role become an extension of themselves. Characters can be fragmented and reassembled. They can hold the actor’s truth alongside the text’s structure.
This is especially important when working with the canonical Western texts often taught in acting schools. These works are not untouchable. They can be dismantled, interrogated, and reimagined to include the actor’s own experience or ne supplanted by it in a postdramatic framework. The card deck supports this by offering six or seven different facets of inquiry that actors can prioritize, combine, or shift. it is combinatorial and fluid in use. Its tactile nature encourages nonlinear play. Instead of following a set sequence, actors can explore arrangements, or what Deleuze might call assemblages.
To me, this Deleuzian notion of desire expresses a truly creative state. It’s not created from absence or lack, but from intensity that sustains itself without landing on binary categories and stable positionality. It belongs to a rhizomatic network of potential forms, moments, and actions.
And if there’s one message I hope this work offers to actors and creators right now, it’s this focus on potentialities. Under the demands of conformity, they collapse into deterministic or linear conclusions. However, to keep moving and reassembling; remaining unfinished in the best possible way and always becoming, is a potent site of resitance.
