Movement in theatre
"Suit the action to the word, the word to the action, …” Hamlet Act 3 Scene 2, Shakespeare
Movement is the basis of all communication. When we meet someone we see before we hear. As a result of our life experience we are able to ‘read’ them. It is textual. We understand and glean meaning from the body in combination with what people say and movement - “hello” with a soft handshake or a "Hi” with a pat on the back.
“ … with this special observance, that you o’erstep not the modesty of nature: … “
The reverse is also true. Our physicality says more than we speak. Knowing what we physically ‘tell’ people is useful in life and essential in performance if what we require is specificity in our communication. Movement training and discipline should be at the core of any performer's work.
“ … for any thing so o’erdone is from the purpose of playing, …” Hamlet Act 3 Scene 2, Shakespeare
We all have physical habits which evolved over our lifetime and those become our characteristics, people identify us by them, as they do the people who’s lives and experiences are portrayed on stage. The performer needs to know our own before we can explore them, they are different from us.
“ … whose end, both at the first and now, was and is, to hold as ’twere the mirror up to nature: ... "
My practice enables in the performer that whether I am the director or teacher. This methodology is at the intersection of all the areas of my work and is defined by my experience and the process of curious engagement in that.
"... to show virtue her feature, scorn her own image, and the very age and body of the time his form and pressure. …” Hamlet Act 3 Scene 2, Shakespeare