Throughout my time in college, I have amassed a deep toolbox of practices and theory. At its roots, is Laban and Feldenkrais movement. With my long history of dance, it is both my engine and safety net. Using my physical habits as a light switch for dropping in and out of character, I can ensure that my work is sustainable and reliable. At the table, I employ Stanislavski's techniques set the stage with lived experiences. In this way I am able to bring forth the relevant raw emotional range to keep at hand, applying the paint of my life to the character, cut within the boundaries of physicality. In this way a character becomes a portrait, embroidered with imaginary circumstances provided by the script. When in the action, I follow Zaemi's theory of Nō. This allows me to freely engage with the performance at hand, exploring a unique experience through the spirit of the character. As I get instruction from the director, it is integrated to this chain of thought like building blocks. When a part of the system fails, it is exchanged with something else.  I often find the service of Meisner and Spolin practices are perfect to shake things up.