Teaching Philosophy

Mark Colson

My primary focus is preparing students for sustainable careers in theatre and film as thoughtful and engaged artists. I maintain a progressive approach to acting education, tailoring my instruction to each student's developing process. I work with students from where they are, allowing them to humanize their characters based on core emotional understanding. My approach to creating characters is grounded in the work of Sandford Meisner, and that "the truth in ourselves is the root of our acting." We bring our experiences, our reality, and our humanity to every role we play. This process begins by examining the similarities between actor and character while exploring the foundation of authentic human behavior. My work as a professional actor strengthens and informs my lessons in the classroom, offering students first-hand information and giving them a window into real-world scenarios. I also continue to mentor students post-graduation as they work on building their networks of artists, collaborators, and industry professionals.

Cultivating trust between teacher and student and creating a safe place to explore is imperative to the growth of an emerging artist. I employ a holistic approach to teaching that focuses on connecting the student to the instructor and their creative partners. I encourage students to experiment and take risks, redefining "failure" as an integral part of the artistic process. There is no failure; there are only choices that work or don't work. Actors can be held back by the notion of "getting it right," an idea that is expected in many learning situations, and it can be difficult for the student to shift into another mindset. I continually emphasize that getting it right doesn't exist. It is more important to make something happen onstage and stay present with the scene. A dropped line or misstep in rehearsal - even in performance - can provide an opportunity to discover something new. We must work to free ourselves from the tyranny of perfectionism.

As artists training in a form that requires attention and engagement, smartphones are not permitted in my classroom. Exercises that emphasize eye contact have proven helpful in restoring face-to-face contact. Movement exercises also provide opportunities for tactile-kinesthetic learning in the here and now, from mirrors to animal exercises connecting students more deeply to their characters. I have discovered that issues of focus and distraction can be redirected and even transformed into an actor's superpower that can be channeled into the work. There are numerous schools of thought for developing actors, the best of which are based on the premise that we all have unlimited potential. I encourage my students to focus on acting in practice rather than the theoretical-we primarily learn by doing.

Engaged acting does not happen in a vacuum; it relies on participation from every member of the ensemble. As actors, we are archaeologists of the human condition. It is no surprise that performing artists are often at the forefront of social justice as our work facilitates understanding and compassion for others. We contextualize our experience by studying across disciplines. As we create art, we engage with our world. To this end, I am an advocate for the actor as storyteller. When we build personal narratives, we discover more about ourselves, which translates into universal truths. During the pandemic, I worked on a student-centered film as a devised piece in which students created videos reflecting the theme of finding their way through isolation. Each video submission was unique, providing an individual perspective, but together, the videos created a broader scope of the pandemic experience with implications and insights that spanned beyond the project itself.  

When directing theatre and film, I enjoy the research and attention to detail in interpreting a playwright's vision. My philosophy toward directing is straightforward; the director serves the script. Actors, wardrobe, and technical elements reveal the author's overriding truth, message, and themes. In every creative space, there is an opportunity for collaboration and development, and it is crucial not to get sidetracked or impose elements that have nothing to do with the essence of the story. I strive to model best practices and to listen to my actors' initial thoughts on character before interjecting my own. This method allows actors to be seen and heard, translating into ownership of their characters, and leading to stronger performances. All members of the creative team facilitate meaningful theatre, in other words, I let the designers design.