The Movement III curriculum the objectives broaden – challenging the actor to imagine the physical instrument as a canvas of performance. Building on the foundational objectives of the first year – release, permission, contact, freedom and spontaneity – the Movement training provides the actor with a repeated practice toward expansive physical creativity, ensemble collaboration and performance composition. The shift reinforces a rigorous understanding of alignment/release, physical processing and expectation for expansive physical creativity. The first two semesters began the opening of the physical instrument and freeing the body from its’ pedestrian behavior. Now, the second year initiates a rebuilding of the actor’s capacity for physical awareness with this new understanding in place. The actor is supported to experience deeply, respond more fearlessly and collaborate with the ensemble in a much more dynamic and uninhibited way. To achieve this, more time is spent working in a state of physical release – making it a more comfortable place from which to operate. There is a continued use of ensemble choreography – drawing from other sources – that connects the actors’ rhythm, expression, and instinct with a clearer, more dynamic and more efficient instrument.
Nathan Flower, Kana Sato
Class is twice a week for 2 hours
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