Individual Training

  • Neutrality and presence, awareness in stage space
  • Body/mind strengthening, centering, focus and balance
  • ‘Grounding’, or connection to earth from the legs
  • Breathe integration as the source for both movement and stillness
    “ A movement must be “well born.” (Etienne Decroux)
  • Isolation and articulation of separate elements and small muscle groups
  • Gesture and small movement study
  • Physical opposition movements and creation of dramatic tension
  • Breaking down of every day actions into physical acting ‘beats’
  • Study of work or labor movements
  • Physicalization of character through breath and body language
  • Voluntary (willful) and involuntary movement
  • Exteriorizing the interior emotional and thought processes through action
  • Dynamic walks, runs and passages through stage space 
  • Entrances and exits
  • Mime and pantomime 
  • Mask work (both neutral and character) 
  • Equilibrium, juggling, stage clowning 
  • Physical comedy, slapstick and falls 
  • Large and small: both naturalistic and highly stylized physical acting 
  • Text integration

Ensemble work and improvisation

  • Trust exercises
  • Stage space and stage picture development
  • Power relationships and physical portrayals
  • Improvisation: duo, small group and large group, abstract and naturalistic
  • Breath, vocal sound and movement ‘environments’
  • Spatial geometry and dramatic effects
  • Group dynamic rhythm
  • Scene work through physical actions and relationships
  • Physical/vocal dialogue experiments toward scene work

 

 

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