Performing in theater has consumed my life since the young age of six. Recently completing my thirtieth show, I am aware of the kind of direction, or education that is needed to help me achieve performance level. Walker Percy, author of "The Loss of the Creature", believes a person must experience the subject being taught in its natural state; untainted and unspoiled. A preconceived notion, he suggests, only distracts from the initial lesson being taught. Paulo Freire is writer of "The Banking Method". He on the other hand, believes in education where students and teachers collaborate, and learn from one another. These methods are not just valuable for students in the classroom, but on stage as well. By combining Percy's and Freire's education theories, the ideal educational experience can be created for an actor.

In acting it is necessary to attempt new ideas, and test altered approaches to the character being portrayed. Every actor must find and interpret their character at their own speed: every actor must get off the beaten track. The beaten track according to Percy is one of the ways to overcome educational

Freire supports the idea of working together to attain knowledge in his educational theory entitled the problem-posing theory. "Responding to the essence of consciousness-intentionally-rejects communiques and embodies communications"(354). In this type of educational atmosphere the student teacher relationship can thrive. In theater, the director is not viewed as a dictator, and the actors' opinions are valued. Moreover, one can learn from their peers through discussions. Promoting creative power, "problem posing creates a constant unveiling if reality"(357). This type of learning promotes performers to be adventurous while allowing room for trial and error.

In every performing experience of mine, whether it is singing the national anthem at a Florida Marlins baseball game, or portraying Eliza Doolittle in My Fair Lady, the cast and crew must collaborate to produce the show. A myriad of my rehearsals have consisted of conversation. The cast and director discuss what is good and where there is still room for improvement. Contrasting ideas of character representations are shared. The ensemble guides one another to finding that last piece of the jigsaw puzzle.

In many instances an actor must prepare for a part by reading text written about the character they are portraying or by watching another actor interpret their part. This could be done through watching the movie version of a show. After already going to weeks of rehearsal for The Wizard of Oz for example, I used this method. Since by this time I had ventured out on my own in terms of truly understanding the character of Dorothy Gale, I decided to see another interpretation of the part. I examined Judy Garland's version of Dorothy. Although I mainly stuck to my portrayal, there were a few things I liked in her Dorothy that I did use. Any performer here must be careful; they must never lose sight of their own interpretation, but at the same time can learn many things by looking at the character from other angles, by "consciously approaching the beaten trail."

Percy describes this approach to seeing the creature as the accidental encounter. "It may be recovered in a time of disaster"(567). If an unexpected event occurs such as

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Approximate Word count = 1494
Approximate Pages = 6 (250 words per page double spaced)