About
Familiar But Different
Experience
At the heart of my approach lies design thinking, a process of inspiration, ideation, and experimentation that encourages actors to explore performance as an evolving, personal system rather than a fixed methodology or an orthodoxy. I draw on all of this to capture the organic, serendipitous nature of creativity and to allow ideas to emerge unexpectedly while maintaining a structured foundation for exploration and refinement.
Passion
My philosophy nurtures range and development, shifting away from neural pruning—the habitual narrowing of creative possibilities—toward what I call reforesting an actor’s expressive potential. In my studio, I cultivate adaptability, spontaneity, and presence.
We can teach ourselves to think and create beneath the text, exploring the pre-verbal, emotional, and physical foundations of human expression. This approach allows actors to engage with performance at its most organic and generative level, ensuring that language emerges as a natural result of lived experience, escaping intellectualized traps and habits.
Philosophy
Writing and storytelling have entered a new phase; we no longer objectify people as freely as we once did, and in turn, acting methods must move beyond representation toward intersubjectivity—a way of being that emphasizes relationship and presence over imposed characterization. The purpose of any method is to be a way of organizing attention, materializing relationships, and transforming the way we see and are seen. This is how we start with Crosspoints work.
In this approach, there is no separation between outward performance and inward experience; yet it does not mine the actor's personal history. Instead it generates authetic potentialities. The work ceases to be about representation and becomes a field of inquiry.
Stories bypass the conscious mind. The real barriers between the actor and the text are not intrinsic but socially learned, and my work is about dissolving them—creating space for the actor to be fully themselves while developing a refined aesthetic language through which to express this.
So, what happens between the moments; between the actor and the story, between the conscious and unconscious, between perception and impulse? I believe this is where the real story is told.