EDUCATOR
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The only wrong choice is no choice at all.
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Ryan currently teaches acting for the BA Musical Theatre program at Sharjah Performing Arts Academy located near Dubai. SPAA is the only college in the MENA region dedicated solely to the performing arts.
Teaching Philosophy Statement
As an acting instructor for musical theatre at an international university in the United Arab Emirates, my teaching is rooted in inclusivity, accessibility, and deep respect for the diverse cultural and linguistic backgrounds of my students. Most arrive with little or no formal theatre training and have been exposed to musical theatre only through digital media. English is often their second or third language, and many are neurodivergent—particularly with ADHD—navigating unfamiliar pedagogical, linguistic, and cultural terrains. I view this diversity not as a limitation, but as a dynamic foundation for creative exploration and authentic artistic growth.
My teaching is shaped by Universal Design for Learning (UDL) principles, which I have adopted for both my students’ needs and my own as a neurodivergent educator. I scaffold lessons to reduce cognitive overload and increase clarity, using multiple modes of instruction, structured rehearsal processes, and detailed rubrics that communicate expectations explicitly. These tools also help me deliver individualized and actionable feedback, reinforcing progress and identifying specific areas for improvement.
I emphasize playfulness, autonomy, and collaboration as essential components of actor training. Students are encouraged to experiment, take risks, and develop personal approaches to their craft. I cultivate a culture of peer support, using structured feedback methods such as the Liz Lerman Critical Response Process, which teaches students how to offer and receive feedback with clarity and compassion, and agency. This method supports both artistic growth and emotional safety—an especially important balance for students navigating personal and cultural vulnerability in a performance-based setting.
In response to the internalized pressure many students feel to achieve perfection, I center my pedagogy on process, not product. Alongside technical training, I incorporate instruction in time and stress management, goal setting, and holistic health for the actor, preparing students for longevity in their studies and future careers. I believe that creative sustainability is just as important as creative excellence.
Currently, I am developing a textbook that adapts renowned acting techniques for the specific context in which I teach—making these practices more accessible, culturally responsive, and neuro-inclusive. Through this work, I hope to broaden the field’s understanding of what acting training can look like when it meets students where they are, rather than asking them to conform to outdated or exclusionary standards.
At its heart, my teaching philosophy is grounded in the belief that acting is an embodied practice of empathy, connection, and agency. My classroom is a space where students are invited to bring their full selves—linguistically, neurologically, and culturally—and where we co-create a community rooted in curiosity, rigor, and mutual respect.
My teaching is shaped by Universal Design for Learning (UDL) principles, which I have adopted for both my students’ needs and my own as a neurodivergent educator. I scaffold lessons to reduce cognitive overload and increase clarity, using multiple modes of instruction, structured rehearsal processes, and detailed rubrics that communicate expectations explicitly. These tools also help me deliver individualized and actionable feedback, reinforcing progress and identifying specific areas for improvement.
I emphasize playfulness, autonomy, and collaboration as essential components of actor training. Students are encouraged to experiment, take risks, and develop personal approaches to their craft. I cultivate a culture of peer support, using structured feedback methods such as the Liz Lerman Critical Response Process, which teaches students how to offer and receive feedback with clarity and compassion, and agency. This method supports both artistic growth and emotional safety—an especially important balance for students navigating personal and cultural vulnerability in a performance-based setting.
In response to the internalized pressure many students feel to achieve perfection, I center my pedagogy on process, not product. Alongside technical training, I incorporate instruction in time and stress management, goal setting, and holistic health for the actor, preparing students for longevity in their studies and future careers. I believe that creative sustainability is just as important as creative excellence.
Currently, I am developing a textbook that adapts renowned acting techniques for the specific context in which I teach—making these practices more accessible, culturally responsive, and neuro-inclusive. Through this work, I hope to broaden the field’s understanding of what acting training can look like when it meets students where they are, rather than asking them to conform to outdated or exclusionary standards.
At its heart, my teaching philosophy is grounded in the belief that acting is an embodied practice of empathy, connection, and agency. My classroom is a space where students are invited to bring their full selves—linguistically, neurologically, and culturally—and where we co-create a community rooted in curiosity, rigor, and mutual respect.
Director
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Actor |
Educator |
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