The room is the work.

The facilitator’s first task is not to furnish answers. It is to make sustained, ambitious attention possible.

Chris’s teaching joins actor training to authorship and artistic leadership. Technique matters because it enlarges choice; ensemble matters because nobody makes theatre alone; professional literacy matters because artists deserve agency over the structures surrounding their work.

The room should be rigorous without becoming brittle, generous without becoming vague, and safe enough for real risk.