At the drama school where I taught for 20 years, I gave drama students versatile and creative access to their bodies and roles. From this I developed the following teaching areas.
Body training for actors, musicians and singers.
It follows the motto: through conscious body work, present and confident on stage!
The body training has two parts, the first being in connection with the second. In the first part there is a calm flowing floor training. The body is gently prepared, attention is paid to breathing and trained.
In the second part, different topics are addressed: Dance improvisation to a wide variety of music, contact exercises, tasks to perceive the space, focus on variations in the tempo or quality of the movements and always in relation to the “audience”, there is always a lot of freedom for individual development, and experiments are also made with masks, balls, sticks or given dance steps.
Coaching Role Preparation – the Moving Sculpture
It involves a complex system of coordinates and asks questions. About posture, the centre of gravity, finding the right gait. And perceiving how the role uses and experiences the environment. Finding the role through the body.
Here I feel particularly connected to the acting technique of Michael Chekhov, also the Mime corporel dramatique, as well as Butoh and Japanese expressive dance. I use my entire wealth of experience and of course also “The Art of Movement” by Rudolf von Laban and Irmgard Bartenieff.