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Dance of the Inner Body: Terry has developed a unique method of training that awakens the performer to his/her essential body. The container determines the shape of the water. The form (container) informs the inner state of being (water). By stripping away cultural and personal conditioning we can become sensitive to the inner being and have it inform the form. As the inner body changes the form responds. Movement becomes inner directed and choreography becomes emotional mapping. Drawing from Decroux, Niedzialkowski, Butoh and personal research Terry has developed movement techniques that are inline with the future direction of  dance, movement theater, mime and acting in general.

The Workshop includes aspects of movement, energy and breath that are of benefit to anyone that has to stand in front of people as part of their job.  
The Workshop is of course of special interest to Mimes, Dancers and Actors, anyone who is involved in Theater and Stage Work  
   
A Mime above all is an Actor. Each movement is a Journey from one Emotional State to a New Emotional State.  
   
 FOCUS: The workshop focuses mainly on two aspects, Acting and Physical Training. The exercises come from specific Mime training, Dance, Butoh, Yoga and various other disciplines
 
                                                     Workshop Breakdown:
 
BREATH: There are many aspects to Breath. There is Breath: to support life (we need oxygen); there is Breath to regulate duration of movement and there is Breath to support Emotional States of Being. Breath training is one of the most crucial aspects of Acting if not the most crucial.  
 
ENERGY: Energy can be Physical and Emotional. Physical Energy is either Expansive, Contractive or Unchanging. Specific exercises are designed to explore the differences. Emotional Energy is not as easy to explain as Physical Energy and involves the constant changing of your Internal State of Being. There are specific exercises that lead to the understanding of what this means. All Emotional States have a specific Physical and Emotional equivalent.  
     
ISOLATION: Breaking the body down into it's separate parts largely to put it back together again with each part under our total control. The idea here is to control all parts of the body in such a manner so that it becomes a Coordinated Whole. My little toe experiences what my hand is doing. All movements become Whole Body Experiences unless other wise desired.  
     
COUNTER MOVEMENT and ENERGY: All movements become a struggle to a greater or lesser degree. This struggle helps to create energy and is used in the illusion work. For example in pulling a rope you have energy pulling you, inertia, friction etc and the opposite energy you use to over come these energies..  
     
GEOMETRIC EXERCISES: These exercises are used to find the pure form or the human form devoid of complicated emotional/physical states. These exercise incorporate straight lines and angles and are designed experience what I refer to as a clean slate, or a painters white canvas on to which color can be applied. Color being a feeling, emotion, atmosphere etc.  
     
SPATIAL EXERCISES: These exercises deal with the creation of space large or small and the movement through space. A Mime dose not work in a given space a Mime creates the space.  
     
IMAGINATION WORK: Exercises to develop imagination  
     
ILLUSIONS: How to create illusions. Although illusion work is very important ultimately it is a very small part of what makes a Mime a Mime. Most importantly A MIME IS AN ACTOR!!!  
     
CENTERED MOVEMENT TRAINING: This is the most important and the hardest to learn. How to begin and end all Movements from your center. How the energy begins in the center and spreads out to fill the body and create movement. This is touched on in all workshops due to its importance but only in advanced workshops will we devote more time to the understanding of this technique.  
     
                                            Workshop can be adjusted to your needs!!
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