a legendary acting teacher interviewed me to study with him.
he knew a lot of things and was gentle and courteous; he asked me where I found my inspiration.
he probably expected me to reel off a list of au-courant cultural curios (and his expectations tended to be confirmed):
of course, I duly did. I don’t remember what was on my list, though.
because the answer Reuven wanted me to find was ‘in myself’.
he would teach me a crucial lesson: that as a receiver and a transmitter of culture and tradition, I had no right ever to be bored: that I must consciously engage, rigorously test, and ultimately trust in, my perceptions and my interpretations: and that I must attend to everything, and in all moments be attentive.
as a teacher and as an artist, I do not proselytise any one particular tradition; I do not prioritise any particular method or system. I draw inspiration from my responses to many great teachers, those whom I’ve known in life and those I’ve known only in my imagination. My theatrical sense is forged by these all these collisions: Stanislavskyan realism and commedia dell’arte, movement psychology and neuroscience, modern dance and silent film, clown and Greek tragedy, Shakespeare and the Method, baroque opera and butoh, high culture and pop culture, classical art and contemporary icons.