In her thesis, Leading From Within, Dr. Barber highlights the evolving nature of the drama classroom. Today, schools can offer students trust, zero judgment, and space for vulnerability—between peers and teachers alike. Learning in the 21st century extends beyond test scores; holistic growth—intellectual, emotional, and social—is essential.

As an educator, I support students in their academic, personal, and social growth. Beyond mastering curriculum content, students learn about themselves and their peers. Making material understandable, engaging, and relevant fosters curiosity and confidence. A positive impact can be made on any child when at least one adult is dedicated to their success; I aim to be that person.

My philosophy views theatre education as both a practice of liberation and a discipline of craft. Meaningful learning occurs in environments grounded in trust, curiosity, and human connection. Teaching is an ethical, relational act requiring rigor, reflection, and respect for students as whole people. Across my work as an artist, educator, and leader, I approach the classroom and rehearsal hall as spaces where technical skill, critical consciousness, emotional safety, and personal agency develop together.

Influenced by Paulo Freire’s Pedagogy of the Oppressed, I reject models that treat students as passive recipients (Freire, 1970/1968). Learning emerges through dialogue, inquiry, collaboration, and shared responsibility. Classrooms that honor student voice and lived experience foster co-created knowledge. When students feel seen, trusted, and capable, academic achievement and artistic rigor naturally follow.

I emphasize comprehension over memorization and relevance over abstraction. Theatre offers relational and embodied pathways to learning, and I integrate movement, text, discussion, and reflection to support multiple learning styles. My goal is to make learning accessible and engaging so students take risks, stay present, and trust their ability to succeed.

My actor training pedagogy draws on Stanislavski, Meisner, and Adler, framed through a trauma-aware, consent-forward lens. Stanislavski emphasizes given circumstances, intention, and disciplined analysis (Stanislavski, 1936/1936); Meisner foregrounds presence, listening, and truthful response (Meisner & Longwell, 1987); Adler centers imagination, dramaturgical context, and engagement with the world beyond the self (Adler, 2000). Students synthesize these methods to serve both the work and their well-being.

Training in intimacy coordination informs my approach to actor training and classroom culture. I normalize consent, foster clear communication, and set boundaries, preparing students to work ethically and safely with physically and emotionally vulnerable material. These practices cultivate trust, accountability, and sustainable artistic development.

Courses are structured using Understanding by Design, beginning with clear learning outcomes and designing assessments and experiences to align with those goals (Wiggins & McTighe, 2005). Reflection is central; students articulate not only what they are doing, but why it matters and how it contributes to their growth as artists and collaborators.

My work through rayerazo.com further reinforces my philosophy, especially regarding mentorship, leadership, and holistic learning. Coaching artists, educators, and administrators outside traditional academic structures highlights that education is preparation for life, not solely for assessment. I emphasize transferable skills—communication, collaboration, ethical leadership, self-awareness, and adaptability—that foster success in the arts and beyond. Theatre becomes a training ground for engaged, reflective, and well-rounded individuals.

I am committed to inclusive, student-centered pedagogy. I create learning environments grounded in trust, consent, and accountability, where students are challenged without being diminished. Vulnerability is essential to artistic growth, and clear, supportive structures enable rigorous work. My goal is not to mold students into replicas of a single ideal but to support them in discovering their capacities with confidence and integrity. Graduates should be skilled, reflective, socially conscious artists who understand the power of their craft and their responsibility to their communities. Education equips students with the tools to become intelligent, successful, and fulfilled adults—when that goal is lost, children suffer, but curiosity and the desire to learn make success possible.

References

I believe that theatre possesses the ability to unsettle, entertain, and enrich our lives. My programming is dedicated to stories that push the boundaries of comfort while providing solace to those in need — encouraging audiences to face trauma, joy, injustice, absurdity, and change. I am particularly interested in works that have been banned, misunderstood, or marginalized, as they frequently contain profound truths and significant influence.

My most influential artistic experiences have stemmed from studying plays such as Bent, For Colored Girls, and Mitzi's Abortion. These works require adept performances, deep emotional engagement, post-show discussions, trauma-informed rehearsal environments, and collaborations with the community. These productions are not optional but crucial for shaping knowledgeable, compassionate artists prepared to impact the world positively.

I profoundly respect classical rigor, particularly in Shakespearean and operatic styles. My directorial thesis focused on The Intruder by Maurice Maeterlinck, which is notoriously challenging to the stage—even for Stanislavski. I've directed this play twice, and on both occasions, I had the actor portraying Grandfather rehearse while blindfolded to develop a profound physical and emotional grasp of helplessness in the presence of death.

Whether horror, cringe comedy, devised physical theatre, or grand operatic musicals, I select pieces that push the boundaries of form and emotion. I aim for audiences to laugh uncontrollably, shed tears when they least expect it, sit in stillness, or shift uncomfortably in their seats—and ultimately leave transformed.

“Theatre ought to disrupt our assumptions, ignite conversations, and reestablish the enchantment of live storytelling as a communal, restorative experience.”