In AOC We Trust

While working on In AOC We Trust, I got to try on and try out many of the different theories and techniques I’ve learned in my time at Loyola University Chicago. I worked to implement the teaching and planning practices I learned in creative dramatics. I tried out new directing prep practices I’ve learned from faculty directors and peers. I worked to use the vocabulary and skills I’ve learned in my acting classes to coach actors. I used the leadership styles I’ve observed from faculty and learned about in my management classes to lead the room. I pulled from what I learned in design class to help support my designers. In these ways, this project was an accumulation of the things I’ve learned at Loyola. During the last three years, I’ve been learning, observing, and training, in class and on theatre productions. This second stage gave me the place to test these skills. To figure out how they work together and what more I need to learn. In many ways, this project resembles a senior capstone, yet I’m lucky enough that I still have time after it to build on what it taught me, and seek the answers to the questions it left me with. 

 

In general, this engaged learning experience challenged me, pushed me to take risks, and led to my development as an artist. It helped me grow my confidence in leading a rehearsal room and improved my interpersonal. Intellectually, it developed my understanding of directing. In the space, I tried out directing techniques from practitioners such as Joyce Piven, Viola Spolin, and Katie Mitchell. Practicing their teachings in a real rehearsal room helped me understand them, learn ways to implement them successfully, and figure out which techniques work best for me. 

 

Beyond that, this project helped me develop professionally. I learned how to maintain professional relationships with the various stakeholders involved in theatre-making, and identified what is crucial to me in the working success of these relationships. For example, a huge part of this project was navigating the director-playwright relationship. While negotiating this relationship between Annika and myself I learned the importance of consistent and open communication, ways to support one another, how helpful mutual storytelling goals are, and how helpful clarity around the scope of our roles can be. Going forward I know how to better support a playwright and I know more what I need from the playwright to feel supported. 

 

Lastly, In AOC We Trust connected me to the mission of Loyola University Chicago by allowing me to expand my knowledge of directing and a platform to engage with themes of justice and change.