Movement for Actors introduces students to a series of skills and practices of moving in performance.  This reveals the ways in which ideas can be encoded but, more importantly, practised and explored through embodied workshop and performance.  This work will inform students’ awareness of and focus on their body in acting conventional roles and more physical and danced theatre.

• To introduce conceptual and embodied understandings of movement in theatre (d)

   

• To recognise cultural and historical conditions that affect and shape movement when performing/performing a role (b).

   

• To reveal skills and technical principles of movement in a theatre context (c)

   

• To enable students to engage in movement as a productive mode of personal expression and communication (g)

   

On completion of this module, students should be able to:

• Perform one or more sections of movement that reveal prepared, practiced and embodied understanding of ideas (A1, A2)

   

• Reveal the cultural framing of the body and movement in performance (A3, B1, C1)

   

• Show skills and technical principles of movement in a theatre context (C3)

   

• Engage imaginatively in the possibilities for performance through movement (C2)

   

Movement for Actors introduces technical and performance aspects of movement, exploring expressive motion within the framework of a movement class.   The class draws on approaches to dance technique and so may include:

• Alignment and placement.

   

• Clarity of body action and awareness, isolation, co-ordination, articulation.

   

• Dynamic qualities and attention to detail

   

• Sensitivity in relationship to music, rhythmic, phrasing and structural elements.

   

• Spatial relations – of the dancer’s own body and in space.

   

• Expressive sensibility in performance of a prepared sequence and unseen material.

   

• Practical Classes

   

Recommended Reading

Brown, Morrison, J. (1998) The Vision of Modern Dance. : Princeton Book co.

Crickmay,C & Tufnell, M. (2008) Chapter 1 ‘Mapping the Body’ in Body, Space, Image. : Dance Books.

Agis, G and Moran, J. (2002) ‘In its Purest Form’, Animated, Winter, pp.20-22.

www.Skinnerreleasing.com

Suggested Reading :

Franklin , E. (1996) Dynamic alignment through imagery.   Champaign :Human Kinetics. 

Craine,D & Mackrell, J (2000) The Oxford Dictionary of Dance.  Oxford: Oxford University Press.

H’Doubler, M. (1966) 4, pp 69-101.Technique and Expression in Dance: A Creative Art Experience.  Milwaukee: University of Wisconsin Press.

Mastin, Z. (2010) Nutrition for the Dancer. Hampshire: Dance Books.