The International Community for Movement aims to connect and extend the field of actor movement by offering workshops, discussion and talks for professional movement practitioners and actors.
with Chisato Ohno
Chisato Ohno’s workshop was based on Gaga the movement language developed by Ohad Naharin, director of the Batsheva Dance Company to help dancers reconnect to the way they move. Gaga is an evolving language of movement research designed to access an ever-expanding range of physicality through the imagery of sensation. It is a unique form of dance that is highly experiential and encourages individuality as well as joy in movement
with Debbie Green
Debbie Green’s workshop offered an exploration of grounding and free flow integral to Roth’s Rhythm of Flowing and their relationship with Staccato, the next of Roth’s 5 Rhythms. Also introduced was how the other three Rhythms of Chaos, Lyrical and Stillness may emerge from the first two. Debbie has found that this work gives the actor experience of dance that is not concerned with how it appears, and by moving with abandon identifying when s/he does not allow freedom in movement. It offers the actor an experiential grasp of the scope of different rhythms as movement qualities to embody.
with Ian Morgan
Releasing unexplored psychophysiological potential through play provides a rich way of opening the doorway to embodied performing. However, the process is necessarily different for each one of us. Through solo, couple and group exercise we sought to provoke the spontaneous, yet precise, reactions that stir the body-self in truly surprising ways. These exceptional moments are rarely repeatable but the creative flow from which they emerge can be nurtured and then visited again, and again.
with Alison Hodge
Core Training identifies a common set of principles: Energetics, polyphonic attention and sensory engagement, all of which are explored through key themes: ground and weight, breath, relationships with others. The matrix of practical exercises offered through Core Training enable actors to explore these principles, developing their skills through physical and vocal partnerships. The emphasis was on the relational body whether that is in exploring responsiveness to another actor, the space, sound or thing. This practical work introduced participants to preliminary training exercises emphasizing the relational aspect of the work and elaborating on the key principles and themes.
With Glynn MacDonald
Drawing upon her experience as Master of Movement at Shakespeare's Globe, Glynn MacDonald explored how the shared ecologies of the open-air stage shape the actor’s movement process. She offered insights into the movement dialogue and the energetic exchanges between actors and audiences.
With Vanessa Ewan
Drawing upon Laban’s language Vanessa Ewan’s workshop explored an aspect of the relationship of space and time for the actor. Aimed at movement practitioners from a wide variety of backgrounds this work looked at movement and spatial principles that activate the actor’s relationship to space.
Led by Jos Baker
Wednesday 6th, Thursday 7th, Friday 8th January 2016
This intensive three day workshop looked at ways of creating physical material for the stage; this workshop introduced a range of methods for creating diverse material for performance. Drawing from his background in physical theatre and dance Jos guided participants through tasks and methods for creating personal and unique dance/physical material, which has the potential to drive narrative and character driven work. Spanning dance and theatre; this workshop was designed for people significant experience in movement and performance.
Alongside the projects above the discursive focus shifted to movement practitioners who had been capturing and theorising their practice in written form with two workshops:
Workshop and discussion with Rick Kemp
Saturday 10th October 2015
Drawing upon his research in Embodied Acting Rick Kemp explored the integration of Action, Metaphor and Emotion through focused somatic awareness. The body, its actions, and its cognitive mechanisms link the three elements of theatre; Space, Time and Story. The three meet in, are defined by, and expressed through an actor’s body. Moving back and forth between guided play and the use of dialogue we will go beyond dualistic concepts of ‘psychological’ or ‘physical’ approaches to acting and discover ways in which embodied metaphors can stimulate specific emotions by linking physical action, thought and language. The work was pragmatic, exploratory and fun –a laboratory of play.
Led by Dr Experience Bryon
February 27th 2016
In the ICM’s next event Experience offered a practical insight into Integrative Performance Practice (IPP). Her approach to practice allows optimal ability while acting, singing/sounding, and dancing/moving, without the compromise of technical excellence. IPP is a way of working that shifts how performers engage with their training, conditioning, and performance disciplines. It synthesizes the various elements of performance work in order to empower the performer, as they practice across disciplines within any genre, style or aesthetic.
The IPP is designed not as a negotiation of various performing techniques, but rather as one practice through which any combinations of disciplinary expression can emerge with excellence. This workshop was an introduction the core practices and premises of the Integrative Performance Practice.
Chisato Ohno danced with Netherlands Dans Theater 2 for four years and then continued to Batsheva Dance Company where she was involved in four new creations and many other works of Ohad Naharin. She then joined Karas Company of Saburo Teshigawara for two premieres and tours of other repertory. She returned to London and has been teaching Gaga since 2005 and joined the faculty at London Contemporary Dance School in 2013.
Alison Hodge is the Artistic Director of The Quick and The Dead, an international theatre research company. Since 2005, she has developed a physical approach to acting: Core Training. See the DVD: Core Training for the Relational Actor published by Routledge in 2013. The Company’s multi-media installation, You Looking At Me opened at the Gulbenkian Centre of Modern Art in Lisbon in 2016.
She was the Co-founder and Artistic Director of Theatre Alibi and an Artistic Associate of Gardzienice Theatre, Poland. Her publications include (2000) Twentieth Century Actor Training, Routledge, (2003) Hidden Territories: The Theatre of Gardzienice, Routledge, co-authored with Wlodzimierz Staniewski and (2010) Actor Training (second edition) Routledge.
Alison teaches at RADA and leads workshops internationally. She is an Honorary Research Fellow at Royal Holloway, University of London, where she was a Reader in Theatre Practice for twenty years.
Ian Morgan is currently Course Leader of the MA in Actor Training and Coaching at Royal Central School of Speech and Drama, an Associate teacher at RADA and a teaching fellow at Brunel University.
Glynn trained in the Alexander Technique in 1972. She is past Chairman of The Society of Teachers of the Alexander Technique (STAT). She has worked in the Actors Centre and the Field Day Theatre Company in Ireland, Dramaten in Stockholm, Norskspillersforbund in Norway, Holback Engstheatre in Denmark, Bremen Opera Company in Germany, Poland, Switzerland, Japan, Australia and the USA. Since 1997 she has been resident Director of Movement at Shakespeare’s Globe on all theatre productions. In 2002 she directed Transforming September 11th at the Linbury Studio, Royal Opera House for Peace Direct. She shared the Sam Wanamaker Award with Giles Block in 2011 for services to the Globe. She also works on the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden. In 2012 she was awarded the François Florent Prize in Paris. Glynn MacDonald is the Globe Associate-Movement at Shakespeare’s Globe, Bankside.
Vanessa Ewan, Senior Lecturer in Movement, BA Acting and co-course leader of the MA MFA Movement: Directing and Teaching.
Rick Kemp (aka Zoltowski) is the author of Embodied Acting: What Neuroscience Tells Us About Acting and co-editor and author of The Routledge Companion to Jacques Lecoq (forthcoming). He has over thirty years of experience as an actor and director gained in the UK, Europe, Canada and the USA. The co-founder and joint Artistic Director of London’s Commotion Theatre in the 1990s, he has worked with companies and theatres such as the Almeida, Complicité, The Tricycle, Riverside Studios, Edinburgh’s Traverse Theatre, Quantum, the Pittsburgh Playhouse, 404 Strand, Squonk Opera, Madrid’s Circulo de Bellas Artes, New York’s Perry St. Theatre, Toronto’s Harbourfront, Warsaw’s Teatr Polski, and the Bouffes du Nord. He holds an MA from Oxford University, and an MFA and a PhD from the University of Pittsburgh. He is the Head of Acting and Directing at Indiana University of Pennsylvania, USA, and a Fellow of the Salzburg Global Seminar on Neuroscience and Art.
From 2008 to 2014; Jos worked for Peeping Tom as a dancer, actor and collaborator, principally with the productions 32 Rue Vandenbranden , and A Louer . Since then he worked for DV8 Physical Theatre on the production of John  then began directing and performing in the promotional events for Petit Bateau's Cedric Charlier collection. Other stage work includes In the process of... by Zoi Dimitriou and Plastic Junkies  by Antonin Comestaz.
On film Jos has made a music video for the song Forgot to live  by Ay Wing, the short film J'te Ramene  directed by Yves Housmann and Biegga savkala duoddariid duohken lea soames  by Elle Sofe Henrikseni as well as several commercials. He has created several of his own works, including: Afla  Creature Man Don't Tell Me , Feedback , What do you do?  and Of no fixed abode . He teaches internationally, offering a range of classes and workshops for professional dancers at institutions including SEAD, Ballet Junior de Geneve, PARTS Summer School, TrinityLaban, The Place, Amsterdam Theatre school, Deltebre Dansa, El Danseu Festival, Tripspace Projects, Ravnedans, Jetsummer and many others.
Jos started his dance training at the age of 7 with Oxford Youth Dance and then continued his formal education first at The Laban Center London and then at PARTS [Performing Arts Research and Training Studios] in Brussels.