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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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