RION TOWERY
CLAUDE RYAN (RION) TOWERY
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Teaching Philosophy & Artistic Statement
Lynn Nottage, the American playwright and Pulitzer Prize for Drama winner, said, “The more you go to a theatre and the more you hear stories you aren’t necessarily familiar with, the more open you become.” I view teaching theatre education as the continuing examination of what it is to be human. Theatre education, at its best, creates meaning and compels our attention through the immediacy of performance by illuminating and influencing one’s perception of oneself and the world around us. This motivates me to create a teaching environment where the student explores her, his, or their own vulnerability, opening possibilities for change, and intensifying their self-awareness and her, his, or their artistic impact on others.
Having graduated with a MFA in Directing from Southern Illinois University, and as a professional dance choreographer, actor, educator, and vocal performer, I strive to prepare students for any venue in which they will present themselves and their work for consideration in the theatre arts. My teaching philosophy is one that encourages students to look both out at the world and into their own hearts, and think critically about the choices they make based on social and spiritual values, and to bring their conclusions to life through performances shared in community. For this to happen, my students need multiple and diverse opportunities to acquire a set of skills, specific to theatre arts, that provides a framework for success on and off the stage. These skills, incorporated in my approach to teaching theatre, include a broad knowledge of theatre history, the ability to discern and articulate the central ideas of dramatic literature, a basic understanding of the practical mechanics of production, from constructing a show to running it, and a commitment to being an artist fully aware of the unbiased, inclusive, diverse, anti-racist approach to theatre.
Working carefully with my students, I have found that the choice of stories we tell and the teams we assemble to bring them to life, play a critical role in providing opportunities for our audiences to gain insight to, and empathy for, other cultures and heritages while promoting awareness of, and progressive action on issues of social responsibility, social change and justice in our society. This includes helping to create an all-inclusive welcoming, supportive, and affirming environment for artists and audiences regardless of race, ethnicity, gender, age, socioeconomic class, or sexual orientation. It is important that my students are provided an environment where humans of any identity will be supported, safe and successful.
Although my students have demonstrated progress in their acceptance of social responsibility, we each acknowledge that stronger action must be taken and that we must do better by providing a theatrical space to ensure this work remains a top priority.
As a professional choreographer for over 20 years, I have found dance to be the universal language that can be used to tell stories, share ideas, and break down barriers. By using dance as a group building activity, my students create a collaborative atmosphere of competency, emotional awareness, accurate self-perception, and an openness to change.
Actually, it was during my work as a Choreographer, that I first discovered a teaching technique which I later came to know as devised theater. Using the devised theater technique, I initially meet with my dancers and/or actors and introduce the overall theme of the project I have in mind. At this point, I intentionally do not flesh out details and specifics so that I can watch and listen to the dancers/actors as they individually respond to the general concept or topic. I want to see what the concept or topic brings up for them without "the heavy hand" of the director. Dancers and actors often bring fresh impressions and visions to the discussions that deepen and expand my original vision(s) & concept(s).
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Following these initial, individual responses, I invite dancers and actors to talk among themselves about their own experiences with such concepts and ideas. In this way, the dancers and actors begin to enter the creative process with me as co-creators.
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I enjoy these early discussions in which I get to see where they will initially take a theme or idea. It has been my experience that the dancers and actors frequently will identify questions about social justice issues that might be addressed in the ultimate presentation to be created. Such discussions serve to build mutual trust and confidence so that as we begin to explore how we can build a memorable project together, we do so in a "safe" environment. Such talking and sharing provides a solid foundation upon which we can fully enter the creative process together.
These discussions can teach me about who my dancers and actors are, and awaken me to their individual talents and skills or even lead me to potential issues. This technique also helps create a working atmosphere in which individual dancers/actors are recognized and respected. My experience with this teaching technique has taught me that by inviting my dancers/actors to enter the creative and imaginative process with me from the beginning, they are invited to make the project their own.
The strength and effectiveness of such teaching is that everyone can bring something useful, even surprising, to the table around which the entire company gathers. In many cases, this collective work will uncover social justice issues that deserve attention. My goal is to invite dancers and actors to have just as much creative license as I do with the creative process. My role is to facilitate a creative experience in which the cast, designers, and crew are fully engaged. This means that we are not only building a creative team for a one-off event; we are learning together how to approach any creative project.
Long before I actually began thinking about going to graduate school, I had an experience while choreographing a dance routine that taught me an unforgettable lesson about teaching technique that I actually stumbled into, almost literally. After professionally choreographing for over 10 years, I experienced an injury. Choreographing was my life. I could not imagine myself not choreographing, not dancing, not creating. It was during this time of healing my students and I applied the technique of Devised Theater that demanded inventiveness, readiness, and full collaboration with each other. My dancers/students became better performers and I, a better teacher.
From this experience my dancers/students and I choreographed one of our most compelling performances. We called it "Mend" and it became a surprisingly effective model for helping all of us learn new ways to deal with life's emotional and/or physical challenges. We worked as a community; everyone had a voice, and everyone had made a commitment to see it through.
Not only did the "Mend" performance teach us to work as a community of performers and artists, it taught us, especially me, that it is finally, not just about the end product, but the actual performance experience. It is a journey that we go on where we learn how to be vulnerable and express ourselves authentically. This is not only about learning theater/dance performance, it is also about learning about life. Theater/dance encourages my students to be willing to experiment with new ideas conveyed through their artistic ability. Inspiring and nurturing the attributes of my students is an important goal of my work in the classroom, on stage, or in a collaborative venue. It is my belief that students in the performing arts learn best by doing, whether as actors, dancers, directors, designers, or technicians. I have found that undergraduates are at first, drawn to the stage by the excitement, attention and joy that making theater generates.
Therefore, I focus on an active, creative process that leads to a finished
product and acknowledges their artistic gifts drawing them into an ongoing
journey of discovery and critical thinking. Engaging undergraduates in mastering critical and creative processes in this way nurtures potential and inspires in them a sense of what is possible. I want to make them aware of
their own creative work. I believe it is essential that students be supported
in exercising and strengthening their artistic abilities to communicate ideas
effectively. It is my continuing career goal and focus to help my students
prosper as they prepare to step onto the diverse stages they will meet in
life with a coherent and intellectual appreciation of theatre as a vital place
to promote social change and an intentional, measurable, deliberate move
towards equality for all.
