My directorial philosophy/approach focuses on the shaping and manipulation of Kinetic Theatre. Everything we do onstage deals with potential or kinetic energy. The acting, blocking, set design, lighting, and even how the costumes move on the actor exists within our play's field of energy. That means, does the playwright have a building of energy to an explosion in the end, or are there several explosions throughout? This is important since the explosion could be the obvious kinetic energy released, but what has been building underneath for that explosion: potential energy. What can happen and what is happening: thus, the play's action as the director is it my job to understand the factors of kinesis, and thus to use and compose an aesthetically pleasing pattern of motion to design an emotionally and intellectually meaningful mobile image.
The elements I focus on with the actors and designers are kinetic art: body- in-space, direction, rate, energy, control, and movement. Every change of direction involves the expanse of energy. We create stories literally out of a void: “lights up” on a vacant stage, and once this explosion of storytelling starts, it is vastly important to understand the kinetics of the production or else you will create or fall into a vacuum, and science will tell you that nature abhors a vacuum. Audiences abhor a vacuum.
Control in kinetic art is directly wedded to the character in dramatic art. The character is the way he is because of what he must do (his manners) and what he wishes to do (his motives). As the director, it is imperative to know where the script tells us where to look for sources of energy. I must carefully gauge all factors in the attraction of masses to measure the exact amount of impulse found within those masses' motion. The direction is measured by both the total progress of motion; where it begins and where it ends.
While shaping the production and focusing on kinetics, I love working with designers. One of the best compliments I have ever received is "I’m a designers’ director." I know color theory, material cost, construction, and programming for sound and lights. This helps relate my directorial concept, but I know how to step back for the designer to excel in their expertise area. In doing so, the designer has artistic freedom, and I’m not micromanaging their area. Having that restraint and ability to collaborate with designers is when the real possibilities and magic begin to happen.