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
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
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!!