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Archive for Teaching

To Every Thing There Is a Season

If there is one thing that is constant in life, it is change. We all know it’s going to happen, and yet we carry on as if things will always remain the same. Sometimes, we embrace change. It can come as a relief and be a very positive thing. But sometimes, we struggle with change. It upsets the world in which we live and brings about that terrible fear of the unknown. About the only thing we can control is how we respond to change. As Bob Dylan says, “…you better start swimming or you’ll sink like a stone, for the times they are a-changing”.

Lately, I’ve been experiencing the pain of going through a lot of changes at work. We recently lost our headmaster, and only last week I found out my principal was also leaving. To top it off, my closest friend at school (who is also our Fine Arts Director) is moving to California. “Change” doesn’t feel good right now. These are not changes that I’m excited about. I love these people and don’t want to see them go. I realize, however, that the only thing I can control now is how I respond to these impending changes. I am excited for each of these wonderful people as they travel to their new schools and begin new chapters of their lives. It’s also time for me to open a new chapter of my life as well. It’s time to swim.

For the past six years, I’ve had the privilege of being a one act play clinician and adjudicator. I’m always impressed with the tenacity of one act play directors and students. They attend each clinic and contest seeking to improve, and they return to their schools, eager to make the changes needed to strengthen their shows and become better storytellers. The point of the clinics and contests is to grow, to continue to work hard and to effect positive change in a production. Directors and their students have to swim or sink, and I’ve witnessed many times the commitment to just keep swimming no matter how many obstacles are encountered. I’ve seen Facebook posts about directors experiencing frustrating and sometimes even devastating setbacks. I’ve witnessed directors encouraging and supporting one another and also act in ways to comfort and display incredible love to their students. I’ve observed companies demonstrate class, dignity, and good sportsmanship after the disappointment of not advancing or the heartbreak of disqualification. You don’t hear this enough, but thank you, directors, for choosing to swim when you’re faced with the sink or swim choice. What you do for your students each year is so very valuable. You are teaching them not only a love for theatre, but also lessons in life. As your students watch you, they learn how to adapt when faced with difficult situations, be resourceful, deal with stress, accept wins and mourn losses, collaborate, find joy, and heal heartache. Yes, the play you choose may resonate with your students, but directors are the navigators of not only the story you tell on stage, but also the story you create with your students. The story of your one act play 2017 company journey will be one that students will remember long after plaques and medals are gathering dust on a shelf. Never underestimate the impact that can have on a young life or that they can have on you. Before long, they will graduate and be off to their next life adventure. Life will change.

I’m not usually an overly-sentimental or wistful person. I know my current feelings have a lot to do with the upcoming changes at my school, but there is a far greater reason for my melancholy. I received word this past weekend that one of my former students passed away on Saturday. She graduated in 2005, making her around the age of 29 or 30. Kaye was our backstage wonder. I would hear her name called frequently when actors needed help. “Kaye, my button came off of my shirt”, “Kaye, I think I split my pants”, “Kaye, do you know where my prop is”, “Kaye….”. The guys in the cast would randomly call her name at times, playfully teasing her just to see if she would come to the rescue, and she would faithfully come to their aid, just in case they really needed help. I have such fond memories of a smiling girl with a small sewing kit, a stopwatch, a mini flashlight, and a small first aid kit stashed away in a fanny pack and ready to go in case she had to jump into action. The passing of a young person is hard to swallow. We just assume we’re going to outlive our theatre kids. Kaye is the age of two of my own children and was a classmate of theirs. Although I haven’t seen her in years, we remained a part of each other’s lives through Facebook. And it was on Facebook, within hours of learning of Kaye’s passing that one of my other friends posted a link to Idina Menzel and Kristin Chenoweth singing the song For Good from the fabulous musical Wicked. I thought to myself, “Don’t click on that link. Do not listen to that song right now”, and then found myself clicking, and sobbing, as Stephen Schwartz ‘s amazingly appropriate lyrics were masterfully sung. I’m going to post them below. It may remind you of someone who has changed you for good. Let it remind us as teachers to leave our handprints on the hearts of those we’re blessed to touch each day. Change is out of our control. How we choose to respond to it isn’t. Lisa, Joy, and Kaye, this is for you…

“I’ve heard it said
That people come into our lives for a reason
Bringing something we must learn
And we are led
To those who help us most to grow
If we let them
And we help them in return
Well, I don’t know if I believe that’s true
But I know I’m who I am today
Because I knew you…
Like a comet pulled from orbit
As it passes a sun
Like a stream that meets a boulder
Halfway through the wood
Who can say if I’ve been changed for the better?
But because I knew you
I have been changed for good.

It well may be
That we will never meet again
In this lifetime
So let me say before we part
So much of me
Is made of what I learned from you
You’ll be with me
Like a handprint on my heart
And now whatever way our stories end
I know you have re-written mine
By being my friend…” (Stephen Schwartz)

Perseverance

In the past few weeks, I have had the fortunate opportunity to clinic sixteen shows in different parts of Texas.  I always leave feeling challenged, inspired, and blessed.  This past weekend, I returned with a huge appreciation for the life lessons we teach students while working on a production.  We teach students about perseverance, commitment, and the strength we gain when working with others.

As I have worked with each director, I recognize the toll the long hours and stress put on each of us.  Preparing for the competition season, working within a budget, lesson planning, teaching, grading etc. (not to mention having a family) is draining on all of us.  With the earlier contest dates, we are all scrambling to re-adjust our schedules to be prepared for that first contest.  Even with the best-laid plans, unexpected delays seem to pop up.  I know many of you have had additional, unforeseen complications with obtaining production rights, commitments (or should I say non-commitments) from students, and the flu season.

About the time I am at the end of my stress level and ready to throw in the towel, I am reminded of the invaluable lessons we are teaching our students as we press through all of the obstacles to prepare our production.   When students see us continuing to work hard, staying positive, working around all hurdles, they are learning life lessons.  These are the lessons a student cannot learn from a book, they learn from example and their own experience.  This is why we continue to pick up our bootstraps and keep moving forward.

In the past couple of weeks, I know of three productions that have had to start all over.  All three companies had created their super-objective and commanding image, prepared their scripts, begun costuming, designed a set, gathered props, etc.   Their students had already memorized their lines, were blocking and developing a character.  Then, because of some unexpected obstacle, the current production had to be halted.  I am afraid in today’s society, too many people would give up and quit – but not theatre teachers.  We know how to look at the worst of situations and turn them into the best possible scenario.  What a gift we give our students.

We all could tell stories about companies who pulled together to overcome complications – stories about changing productions with few rehearsals left before a contest or opening night, students who failed to commit, administration that stopped a show or concept, unfortunate accidents or sicknesses.  This list could go on and on.   Very few times can we name the times a company quit because of these unfortunate incidents.  Instead, we have watched as directors and students pulled together to produce quality theatre.  More importantly, we have watched as directors taught young adults how to persevere in life.  When the going gets tough, the tough get going.  We cannot quit in the face of adversity,

As I watched a group of young actors enthusiastically welcome a production change due to the lack of commitment from some of their classmates and peers, I stood in awe.  I never heard one complain.  I never heard one say they could not do it or that it could not be done.  I watched these students embrace the challenge with a contagious eagerness.  Those students are the ones who will survive in life.  They are the ones who will succeed in their endeavors because they did not quit when it was difficult.  They backed up, re-evaluated the situation and embraced a solution.

As theatre teachers, we begin modeling how to persist through adversity early in the production process. When we begin designing a set and have to adapt our vision with the reality of the space, contest or our budget, we are modeling perseverance.   When we find the need to recast the lead actor, we are demonstrating how to work through adversity.   Students watch us face an obstacle, re-evaluate and develop a solution through all aspects of the production process.  I realize now, that every time we adjust our plan of action to meet the needs or restrictions at the moment, we are modeling life lessons to our students.  What a gift we give our students every day without even realizing it.

As you continue preparing for your competition season, don’t disregard the little lessons you are teaching everyday.  Every time you stay positive in the face of adversity, your students are watching you.  Every time you refuse to give up or quit and, instead, continue to work hard, re-evaluate and keep going, you are modeling the lessons in life that make people succeed.   Those lessons are more important than any administrative evaluation or trophy you can win.

 

 

 

“Kid Power”: Leadership for the New Year

I love the promise of a new year.  The holiday usually gives me some much-needed rest and I am full of energy and hope for the second semester.  I would have time to get prepared for the first few weeks back and I was always eager to start work on the next production.  Success for the new year means doing your best to anticipate the challenges that come with all that is the Spring Semester.  However, this doesn’t mean you do everything alone.  Certainly, having partner teachers is a plus but even if you are the lone wolf in the drama department you are not on your own.

Since leaving the classroom, I have become more aware of the most powerful partnership I had as a teacher.  That partnership is what I now refer to as “Kid Power”.  I truly miss “Kid Power”.  Frequently, I think to myself how many of my tasks in my current administrative role would be so much better if I had students sharing their skills, planning ideas, and most of all, using their physical power. From offering suggestions on projects, planning and organizing, and setting up sets or building, students are the power behind any successful program.

Students have so much to offer and can certainly use their skills to assist in making your classroom instruction and productions run smoothly.  Now that you have had a semester to build relationships, it is time to challenge your students with opportunities to own their learning and take on more responsibility. January is the time to engage your students and develop their “Kid Power”. A new year is the right time to empower students to become leaders.

“Leadership is the wise use of power. Power is the capacity to translate intention into reality and sustain it.” -Warren Bennis, scholar, author, and pioneer in leadership studies

You really can’t be a leader without having power, which most dictionaries define as “the ability to act.”

You know that with class and productions your plate will be full for the second semester.  Now is the time to grow your own leaders and transform your students into partners in learning by embracing their power. One way for students to embrace their power is by feeling a strong sense of self-efficacy—a strong belief that they can accomplish their goals. William Glasser calls this quality the “power within.” Developing “Kid Power” in the classroom means helping students embrace their ability to own their part in learning.  So many students have learned, through school, that they are passive receivers of knowledge and theatre is a fantastic venue to promote learning as an action.  Letting students know that learning is something done, not something done to you and they need to take action and decide how they want to learn is necessary to take your classes to the next level. Setting up differentiated lessons where students have choices on how they will demonstrate mastery of skills is a great way to offer opportunities for students to harness their power.

Teaching students about learning strategies can also strengthen self-efficacy. This is different from teaching skills. Being able to start a car with a key in the ignition is a skill, but if you lose your car keys, you need strategies. “Kid Power” helps students gain the capacity to tackle unforeseen problems by emphasizing comprehension.  Students are empowered to categorize information, identify patterns and problem solve in theatre without a teacher always telling the “rule” in advance. For the second semester, challenge your students to solve problems without spelling everything out.  It will be messy and if you are a control freak, like me, it can be hard to watch, but when you watch them develop and begin to work together and collaboratively use their creativity, you will find they will surprise you with exciting ideas and innovative techniques.

If you are concerned that your classes may not be ready for the responsibility I suggest, it is important to note that Glasser suggests that 95 percent of classroom management issues occur as a result of students trying to fulfill a need for power. When we share power with our students, it doesn’t mean that we “have less power” —but it can mean we’ve created more possibilities for learning and leadership. You have already laid the groundwork for “Kid Power” by building relationships with students.  As you head into the next semester, continue to explore your students’ self-interests, hopes, and dreams, and be better prepared to more explicitly connect lessons to them.

Another way to shift your classroom to “Kid Power” is to provide opportunities for students to teach others. Teaching others not only requires students to reread and return to learned material but it also enhances self-confidence and provides good modeling for peers. I often used the “jigsaw” concept—in which students become experts and teach each other about a topic in small groups.  I usually required students to provide an original visual or performance to teach their assigned material. Small groups of students can teach short lessons to other small groups, who then reverse roles.  Another strategy asks individual students to prepare short fill-in-the-blank statements and then exchange them, keeping in mind that their statements need to be carefully designed so that their peers can use context clues to complete them.

The classroom is not the only place where students can exercise their power. I know most of us trust a student to be a stage manager or perhaps you trust and give power freely to that light board technician kid who knows the board like the back of his hand but, I want to challenge you to embrace “Kid Power” for the entire company.
Your students can help get the word out about your productions.  I always asked my best students to bring at least two new students to the audition for the next show. I asked them to listen for great readers and speakers in their English classes or great presenters in other classes.  They would often get excited about finding someone to bring to an audition that would ultimately get cast.  They took great pride in their recruiting skills and casting eye and the students they brought were so happy to find theatre and become part of the team.

I would often prepare a 1 page audition announcement flyer for them to hand out with the following information to help new recruits:

  1. Title of the Show
  2. Performance Dates
  3. Important Details (Special performance times or requirements)
  4. Production Team Positions Open
  5. Kind of Audition (Musical or Play)
  6. Audition Dates
  7. What to Prepare
  8. What Type of Performers are Needed (Age, Gender, and Special Skills)
  9. Brief Synopsis

It is important to remember that “Kid Power” doesn’t mean Seniority.  Seniority has its place but “Kid Power” is about building leadership skills for all students and helping students own their department.  When you create opportunities for all students to make an impact in production you build commitment and you see less students abandoning the process mid-stream.  Students see their power as immediate and know that you trust them with responsibilities.  Certainly we are good at assigning leadership roles for certain students but the task of “Kid Power” comes in finding opportunities for all.

All students can cast the play.  This is a wonderful activity at auditions to help students understand the responsibility and difficulty of casting.  I required that all actors and technicians interested in participation in the play submit their cast list in writing as the last activity before I dismissed them from the audition.  This is something they did not discuss with others and many struggled with the task but it helped them understand the responsibility of a director.

All students can lead warm-ups.  Have your stage manager model leading a 10 minute vocal and physical warm-up for the company.  Then have them create a calendar that allows for every student to have at least 1 rehearsal where they lead the company in warm-ups.  This 10 minutes at the start of every rehearsal allows for you to have time to get set up and problem solve before each rehearsal.  Students can repeat traditional warm-ups or introduce new warm-ups to the company that might just become traditions. Have students plan for end of rehearsal reflection activities.  Each student should have a rehearsal they are responsible for running reflections.  If you are like me and use a “source wall” (See Anne Bogart’s Viewpoints) when doing table work for a production, students can rotate responsibility for updating items on the wall and presenting to the group.

All students can offer suggestions for improvement and by creating an open communication system, students can offer suggestions for what scenes they may need to work on more.  Developing an appropriate way to share ideas, students can help problem solve difficult scene changes, costume issues or blocking concerns.

All students can develop and deliver your 3-5-7-9.  On a 3×5 card, have students write your department’s mission and goals in 7 sentences.  They should practice delivering this message in less than 90 seconds as an elevator speech to promote what your department or production is all about.  This 3-5-7-9 technique can be used to recruit students to the program or invite folks to come see your latest play. You can also use this strategy with Twitter by having students use 140 characters to tweet about the show or the program.

It is important to note that “Kid Power” does not mean you don’t make decisions.  It is important to establish that student leadership is respected in your department but you are there to guide them and ensure their safety to prepare them to promote what is best for all students.

Using “Kid Power” doesn’t mean there won’t be teachable moments, times when you will need to intervene and hit the re-set button or that you will not need to re-direct students who make poor choices or choose to use their “power” for ill.  However, the benefits of embracing “Kid Power” or student leadership far outweigh the risks and students are more prepared for post- graduation because of their experiences.  Here are some of the ways embracing student leadership in theatre can better prepare your students:

  • Having their abilities recognized by others is empowering, and the work students do in a leadership role is likely to be recognized and help them gain confidence.
  • Public speaking plays a major role in many careers today. You teach your students to speak with confidence and poise to diverse groups about your department’s mission and goals (running warm-ups, reflections, critiques, planning, 3-5-7-9, etc.). Diplomacy skills and persuasion tactics are applicable to almost any career.
  • Student leaders aren’t only responsible for themselves – they also have extended responsibilities that affect a wide range of people. Leaders of a group must not only make sure that tasks get done, but that all members of the department are performing to the best of their abilities. If someone doesn’t follow through on a task, leaders make sure that, ultimately, the task is completed. This responsibility can be a lesson on how to hold others accountable.
  • A play is the ultimate collaborative project. Student leaders must learn to establish priorities and compromise when necessary. Success occurs when the integrity of the production is maintained and everyone involved feels valued and empowered. This form of negotiation is invaluable for helping any group meet its goals, including professional teams in the workforce.
  • A strong leader is one whose management skills become second nature. Leaders must oversee operational tasks, make budgets, prioritize workloads, build consensus and perform other executive duties as necessary. Students will likely make mistakes, but learning how to handle them now, through play production and with you as a safety net, can better prepare them for college or the workforce.
  • Student leaders have many obligations to meet while maintaining a full course load and attending to other personal responsibilities. It will take some creative problem-solving to get everything done and keep life in balance. Leadership experiences allow students to hone multitasking abilities that future job and life responsibility demands.
  • College recruiters and employers recognize the responsibilities that student leaders take on, and they respect the initiative it shows to be a leader a play production. With leadership experience on their resume, they are more likely to get the attention of a recruiter or hiring manager. A student leadership role is also a great talking point during interviews.

Happy New Year! and best wishes for a “Kid Power”-ed semester.  Your leadership and extra effort with your students means they are not only becoming well rounded theatrical professionals but they are also honing skills and techniques that empower them to be successful in learning and in life.  Enjoy the partnership with your students and celebrate the promise of new beginnings!

 

 

Preparation: Key Element to Contest Season

Key to SuccessAs I write this, I am listening to my students singing Bohemian Rhapsody in the dressing rooms down the hall.   They just closed the curtain to the matinee performance and will begin preparing for the evening performance after a short break.  Apparently, this is one of their traditions at the close of a show; although a student just informed me this was supposed to happen after closing night and not after the matinee.   I am still learning their pre-performance and post-performance rituals while trying to incorporate the preparation I feel they need to grow as performers and a department.

While we still have two more musical performances, I am mentally preparing for the next productions.  In one class we are halfway through blocking , Reckless, by Craig Lucas.  In my Theatre I classes, we are beginning talk theatre.  After school, we begin auditions for our competition show.  Such is the life of a high school theatre teacher.  Saying good-bye to this show is much easier with so much to organize for the rest of the year.

Unfortunately, along with preparation for UIL One-Act Play contest season comes the dreaded play selection and auditions.   I hate both. What if I choose the wrong show?  What if I do not cast it right?  This is the part of the process that I do not like.  I cannot decide what entrée to order at a restaurant, think how hard it is for me to make a decision about what play I want to be married to for the next few months – much less which students will best fulfill those roles.

Today, I want to share my thoughts about beginning a competition season and share some of my own processes.  Since I have not been a “solo” director in a while, I am trying to remember what all needs to be done, re-create contracts and calendars, as well as, teach my students my way of doing this.   I am very thankful for the new Maestro Production Process Guidebook with sample calendars, contracts and reminders of all the things I need to do.   This will surely simplify my preparation for the competition season.

Yesterday, I began the process.  I posted audition dates.  It is strange to post them in November, but with contest the first week in March, I need to get started.  I posted five audition dates.  I am not one who does one to two days of auditions.  Remember, I have a hard time making up my mind!  I want to be able to really trust my decision.  During this time, I will do some improv activities, creating situations that I might need in the play.  I will do some theatre games to see who are leaders, who are followers, and, mostly, who are team players.  I will assign some semi-cold readings where I give a group a scene and ten minutes to rehearse it.  They will return to perform the scene without scripts.  I will not ask them to memorize, I want them to create characters and conflict.  My newest, and favorite audition tactic, I learned from Maestro workshops.  I will give each a stereotype that fits the characters I am looking for.  The student will create the silhouette of that character and deliver one line.  This lets me know what they can do physically, as well as, vocally.  It also shows me what students are willing to take risks and can create on their own.

Okay, so I have the dates posted.  Tomorrow, I will spend the day creating my audition packet.  It will contain my expectations, calendars, rehearsal uniform, a contract to be signed by parents and students, student information, a grade check, expectations for travel attire, and I may add a teacher recommendation form since I am just learning about my new students.  I gained a wealth of knowledge about the work ethic and responsibility of the students in the musical, but many of my students did not audition for the musical because they cannot sing or dance.  I need some sort of gauge for their responsibility level and work ethic.  I am thinking a teacher recommendation might be helpful.  Plus, it puts responsibility in their hands, and it can be the first thing to see if they follow through with a directive.  Same with the contract, it must be signed and returned by the deadline.

The next step is beginning the audition and determining the play.  Yes, I said that right.  I do not know, for sure, what play I am auditioning.  I know that is not the normal procedure for some people.  You should have seen the look on students’ faces as they asked what play they are auditioning for and I said, “I’m not sure, yet.”  I told them they have to trust me.  I have 3-4 scripts that I am considering.   I will audition all of them to determine what script fits the kids best.  I am leaning heavily on an Arthur Miller script (yes with a porch) but I have very physical students who are naturally comedic, so I am also looking at some scripts that meet those criteria.  I think a huge mistake is choosing a play and trying to make your students fit those roles.

During this audition process, as I narrow down my script choices, I will assign the stereotype silhouette and give a line to memorize.  I may give a monologue for memorization.  It all depends on what I need to see in order to make my decision.  Sometimes, I need to see a monologue or see that they are committed enough to prepare a monologue.  Sometimes, I feel this is a waste of my time.  I am as involved in the audition process as the students, I adapt based on what I feel is needed with that group of students auditioning at that time.

During the audition process, I will interview students.  I want to hear what their expectations are, what they feel are their strengths and weaknesses, and why they are interested in representing our school in this contest.   This is time consuming but worth the investment.  It sometimes clarifies my decision and I think many times, it makes the casting decision easier for a student to accept.  They sometimes see themselves in roles that do not fit them physically nor work within the current ensemble.  Sometimes, I have re-visited my own ideas to look at roles through a new lens suggested by a student.

Remember, I mentioned teaching my new students my process.   I require technicians to attend all auditions, which is a new practice for them.  They are handed a contract and participate in the improv activities and the games.   I am casting a company and I need to see that they are as committed as the actors.  This is new for my new school where technicians do not attend rehearsals until the end of the rehearsal process and sometimes do not even know the names of the actors.  I have had a few technicians in my office panicked over this requirement.  I, again, told them to trust me, it will all work out with a rewarding outcome.

I am tired as we close our musical, but I am excited about the future.  I have watched students grow in the past six weeks through this production and I look forward to watching them grow in the next production.  I know tomorrow, I would love to veg-out on the couch and watch the Cowboys, but I know I need to prepare for auditions.  Maybe, I can get my contracts, calendars and expectations together as I watch some football.

 

Balancing Life and Work

Confucius said, “Choose a job you love, and you will never have to work a day in your life.”  Confucius was obviously not a theatre teacher, or a coach, or a band director, or any other teacher who has extra-curricular responsibilities.  Most of us would say we love our job, but few of us would say it is not work.  The older I get, the bigger toll the “job” has on my life.  I admire directors, Work Life Balancecoaches, and band directors who have the stamina to do this kind of work for many years.

Don’t get me wrong, I love teaching theatre, I love directing, and I love my students.  I do agree with Confucius’ notion that the love of a job makes earning a living more enjoyable.  I, like many of you, lose myself in the rehearsal process.  While I am directing, I feel like I could go on for hours.  I am inspired as I watch students transform words from the page to magic on the stage.  I am invigorated as I work with them.  I get excited and I never consider what I am doing “work” – while I am doing it.  It is the time between rehearsals or school that my body seems to ask my brain when I will remember I am not twenty-five any more.

When I returned to directing this year, I promised myself and my family I would not let it consume me.  I agreed to let go of some of my perfectionist personality and balance my personal life with my work life.  Five weeks into school, and I am already failing at maintaining this balance.  I was reminded of this when I told my husband I did not have time to refill a prescription that I needed.  Something is out of balance when I spend so much time working that I fail to take care of my own important needs.   I know I am not alone, most theatre teachers are the same; we sacrifice personal needs (mail, doctor appointments, bills, food, etc.) because we are so consumed with our jobs.

This conversation with my husband, spurred some self-reflection.  I know I am an unorganized procrastinator, which affects my life in many ways, but mostly at work.  Obviously, I need to learn to work smarter, not harder nor longer hours.    In an effort to help me, my husband suggested I try to structure my week much like he has done in his business by setting a schedule for every day.  He suggested I start by organizing and planning my conference periods to maximize my productivity.  I can admit that after one week, this has helped.

Last week, I planned my conference periods like I did my weekly lesson plans.   I set aside a day for purchasing supplies at Lowe’s, one day for rehearsal planning, one day for budget paperwork, one day for lesson planning, and a day for “rat killing” as he called it.  This day is for taking care of loose ends – my personal needs (like calling in a prescription), organizing my desk, anything required by my principal, officers, etc.   I am sharing this idea with you because it worked pretty well, even though I did not stick to it completely.  I learned I need to share my schedule with my students so they know when they may approach me, but for the most part, it worked.  I got more accomplished this week in my off-time than I do in most weeks.

Some of you are laughing and thinking how you have been doing this for years.  I wish someone had suggested this to me when I began teaching; I would have saved myself much anxiety and wasted time.    This organizational strategy did not solve all of my problems, but I do believe if I keep this strategy up, I might begin to get a grip on balancing work with life.

My husband also stressed the importance of a day off from everything where I rest and refocus my attention.  I called Gloria McLuckie, one of the hardest-working directors I know.  I asked her how she does it, how she continues to love what she does, keep up with it all and be successful.  One thing she said was that she tries to keep her Sundays free.   I laughed, I used to rehearse on Sunday when I was younger, no wonder I burned out early!  I am going to try this strategy, too.  I am currently working on a Friday night in hopes that Sunday I can rest.  It does feels better to get things done tonight than to think of them weighing over me all weekend.

Hopefully, these new organizational approaches will help me bring balance to my life.  By openly sharing my own struggles, I hope I have suggested something that you might can use, too.  I want to be the theatre teacher who loves what I do, and not the theatre teacher who is burned out and exhausted.  I want my exhaustion to come from working at what I love, not from playing catch up all the time.  I am thankful that teaching theatre and directing is my job and with a little more planning on my part, I believe I can balance it with my life.