KINAESTHETIC INTELLIGENCE

 “Truth in theatre is always on the move” – Peter Brook

In this practical, sensitive and tailored workshop, we explore ways of accessing different emotions and emotional states, without taking a psychological toll on the actor.

Actors are frequently asked to go to some dark places in order to bring truth to their character. It could be damaging to the actor’s mental health. I believe it is vital to avoid this, so I started developing a series of exercises that I use in my rehearsals for Character Work.

Inspired by the theory of multiple intelligence, this workshop emphasises kinaesthetic (bodily) intelligence: listening to the body, using breath to find emotion and return to neutral, and movement-based techniques for creating character.

Who could benefit from this course?

• Theatre Makers who are looking for an alternative way to access emotions and unlock organic performance.

• Actors who struggle with ‘leaving the role behind’ after rehearsal or performance.

How does it work?

• We will explore exercises inspired by a range of techniques including Butoh, Lecoq, and Emotion Breathing Patterns.

• We will concentrate on working individually and with the partner, also observing others in order to experience the exercises from the audience perspective.

• We will discuss how these exercises can be used practically in rehearsals and devising.

What do you gain?

• Learn tools to safely access deep or difficult emotions.

• Avoid post-performance ‘emotional hangover’ and protect your mental health.

Testimonials

“This is a great course, I feel that I’ve gained some excellent simple tools for generating emotions which could otherwise be hard to connect with.” – Alexi Parkin.

“It’s helped me evoke emotions with my body and, facial expressions with damaging my mental health. This for me is extremely important as, in the past I would draw upon personal experience which would sometimes leave me feeling distraught. I highly recommended every actor to have this in their tool box. ” – Fabia Cerra

“Highly recommended… It takes you into the connection between mind and body, into those spaces where unconscious action happens.” – Michelle Olley

“I was so surprised and impressed by the breathing patterns: after a few moments, I could feel the emotion developing just from what my body was doing, without the psychologically draining ‘what-ifs’ or ‘sense memory’ from other acting schools of thought.” – Amy Clare Tasker

“The students thoroughly enjoyed it and found the work immediately useful.” -Lars Henning, Artistic Director of Copenhagen International School of Performing Arts

“What an awesome class! Thank you for introducing NYC actors to your method.” – Sekou Carrdine

“Our students thought that it was “Excellent” and they would “Highly Recommend” it” – John Desotelle Studio, New York