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Character Movement Work Labanotation

What is your character’s relationship to gravity? 

Posted on August 21, 2021
relationship to gravity

I was flipping through one of my favorite books on movement for the actor the other day, and a quote lept out at me. 

Quite literally.

I was reading while lying down, which I know from previous experience can be a dangerous task. I turned the page, had no idea of my fate, read what I’m about to share with you, lost my grip on the book, and it fell on my face. 

So, here’s the quote:

“Are we resisting gravity, releasing into it, or negotiating with it?”

And yes, the irony is not lost on me 🙂

The book, by the way, is called Breathing, Movement, Exploration by Barbara Sellers-Young, and it is my go-to for character movement work. (Fyi, not an affiliate link)

I could go on and on about the brilliance of this book, but all I’ll say here is it changed how I approached a role 1,000% for the better. 

Now, in that particular moment when the book fell on my face, gravity was playfully reminding me of its existence. 

Gravity, whether we like it or not, is a fact of life. 

And because it’s everywhere in our lives, it’s everywhere for the characters we play too. (Yep, even if you’re in the world of The Expanse and space, things are happening. If anything, you become more aware of it then, right?)

So, how exactly can gravity help us in creating a character movement signature?

Rudolf Laban

First, let’s break this down a bit.

Barbara spends a good chunk of her book guiding the reader through the work of Rudolf Laban. If you’re not familiar with his work, check out my intro post about him.

The short of it is he was a dancer, choreographer, teacher, and dance-theorist born in 1879 in what is modern-day Slovakia. 

His incredible career spanned decades, opened dozens of dance and movement schools, and is often referred to as one of the founders of European Modern Dance.

Through his work, he created a dance notation system called Labanotation, “a clear and concise language for describing human movement.”

One of the four foundational elements of Labanotation is the quality of ‘weight.’

And I don’t mean weight as in the number on the scale. However, it does still play a role.  

Weight, here, is basically gravity.

Weight

Now, the two ends of the spectrum of our relationship to weight are strong or light. (Strong can also be interpreted as heavy. )

To continue to quote Barbara, “A strong movement results from a level of contraction in the muscles that causes a forceful exert in a particular direction…A light movement requires minimal force or tension and counter tension.”  

Performing either of these qualities can get really tiring really quickly, especially if you’re thinking in extremes.

So before diving into extremes, something I really want to stress is the reminder that ‘strong’ doesn’t mean it has to be forceful. It can be rooted and gentle. 

Therefore, light doesn’t literally mean that you aren’t making contact with the ground.

Resisting gravity

A picture is worth 1,000 words, right? 

So, here’s an example of what resisting gravity could look like.

gravity

In this pic, the person is using their strength of their body to anchor them so that the umbrella doesn’t fly away.

Again, playing with the dial of extremes, character movement doesn’t have to be fixed firmly on one end of the spectrum to be effective. 

Releasing into gravity

Again, a picture for your eyeballs to illustrate how one can release into gravity.

gravity

This little one looks completely relaxed, their muscles completely releasing. Falling asleep/being asleep is probably the easiest way we release into gravity. 

We’re unconscious; after all, we can’t offer gravity any resistance. 

Negotiating with gravity 

This really is the baseline. 

Most of the time, we and our characters are negotiating with gravity to some degree.

The first example that comes to mind, from one extreme, is the work in the sci-fi show The Expanse.

When shooting a scene taking place in zero-gravity, actors have a lot of movement work ahead of them.

Then you often have to add the element of their gravity boots being on. The boots help them resist gravity while the rest of them is negotiating or releasing.

A behind-the-scenes clip of some of their work revealed they worked with a movement coach to help them frame the world of zero-gravity so that they were moving accordingly. 

Now, since gravity is everywhere, I wanted to touch on how we use gravity to interact with objects/props outside of ourselves.  

Extending gravity to objects/props

A huge pet peeve of mine is when I see actors drink out of a cup/mug/glass of some sort, and there’s clearly no liquid in it. 

Especially the Starbucks to-go cups for a hot drink. For some reason, those examples stick out in my mind the most.

When there’s no weight, no resistance in the actor’s performance when picking up and taking a swig from that cup…I want to scream.

It takes me out of the moment so quickly, suddenly, and angrily reminding me that I’m not in the story. They’ve lost me.

And as a performer, the last thing you want is to have your audience get yanked out of the story you’re telling. 

Therefore, it’s essential to extend your character’s relationship to gravity to the objects they then encounter. 

So, what is your character’s relationship to gravity?

Is it a simple relationship? 

Or is it complicated?

Something to keep in your mind when crafting your next character’s movement signature. 

Do they sometimes forget gravity is there and have books fall on their faces?

Maybe they resist gravity as much as they resist everything else in their life.

Or perhaps, I imagine, most of the time, they’re somewhere in-between.

And on that note, thanks, gravity, who knows where we’d be without you.

Character Movement Work Cosplay Labanotation

Are your character’s shoes really that important?

Posted on August 14, 2021
characters shoes

As I’ve written before and certainly will again, costumes are incredibly important to how a character moves. 

In looking at costumes, there’s a lot of factors to take into account here, right?

A period piece may include a corset or stockings, towering wigs, or imposing hats. 

A character existing in the modern world may wear a short dress or sweat pants. 

Speaking from personal experience, moving is a lot easier in sweat pants vs. a corset. 

What we choose to wear (or what our characters wear) comes in many non-physical forms, too, such as self-expression or repression, societal norms and expectations, religious importance, and vocation.

So, yeah, costumes are pretty important. (And this is not just me speaking as a former costume designer, promise 🙂 )

Now, let’s talk about shoes.

Your character’s shoes

What shoes your character wears says a great deal about them and where they fit within the society they inhabit. 

Do they conform to their societal norms or rebel? Or are they stuck somewhere in between?

Do they wear shoes they’re supposed to while at work but then change immediately once they have the chance?

Diving into character movement work, this kind of thinking can be applied to your character’s movement signature.

A character who is used to wearing power heels and has a direct and sustained way of moving may be thrown off by wearing sandals for the first time in another scene. 

Moving in shoes 

I’m reminded of someone I used to work within a classic office setting. 

She wore heels every day for decades to the point where she told me it hurt to wear flats. 

It was challenging for her to walk while wearing flats because her Achilles tendons had shrunk due to her consistent use of high heels.

Something like this is gold for a character movement signature.

Another example I love that displays how a change in shoes can highlight a character’s movement transformation is from Kerry Hishon’s blog post Why You Need to Rehearse in Your Character’s Shoes from Theatrefolk:

“For example, think about a show like My Fair Lady. Eliza starts as a humble flower seller wearing thick boots and is made over into a society lady in fancy high heels. How would that affect both the actress playing the role and the character herself? How does she walk in her everyday boots versus her new, stiff, heeled shoes? At what point does she become more comfortable in her new shoes? How can you, as an actor, accurately show this evolution of movement?”

Moving without shoes

You may find yourself playing a character that doesn’t wear shoes for whatever reason. 

When I was in college, I was a part of a wonderful one-act called The Goblins Plot to Murder God by Mark O’Donnell. (Not an affiliate link, FYI)

It’s a 10-minute play about, well, a goblin’s plot to murder God. 

Think Shakespeare meets Dr. Seus. 

The opening lines spoken by the narrator are:

“Bleak and squeaking, weakly seeking,

To the clumsy drum they come.

Hobbling, wriggling, straggling gaggle –

Niggling goblins! Here are some!

Gabbling rabble, thrum and thrum!

This, their cheerless leader Ooze.

Let us hide and bide what brews.”

For our production, as goblins, none of us on stage wore shoes. It was a wonderful experience, incredibly freeing, and I found it ultimately a lot easier to drop my center of gravity and slip into the role. 

Shoes are an extension of us

Our feet are our connection to the ground and our relationship with it. Therefore what we put on our feet acts as an extension of our feet.

It’s like a swordsman seeing their sword as an extension of their hand. Likewise, shoes may not be a weapon unless you’re in a spy film, but shoes are how we make contact with the land beneath us.

Gayle Rankin was quoted in an article by Christopher Byrne on the pivotal role of shoes on Broadway, “…Shoes change how you walk and how you act how balanced you are.”

Tying shoes into psychology 

The shoes our character wears display a great partnership between character movement and psychology. 

What sound do the shoes make when they make contact with the ground? Are they harsh clicks or soft shuffles? Quiet and unassuming or brash and demanding of attention? 

Now adding the psychological character work you’ve done-how does this amplify or contradict their personality? 

Get those characther’s shoes on!

When I’m diving into a new role, regardless of how intensive I know the movement work will be, I like to check in with the costume designer as soon as I can. 

In my experience both as an actor and costume designer, collaboration has been vital.

There’s a balance between the overall visual aesthetic of the production (time period, etc.) and my comfortability as an actor (if I need to practice ascending that spiral staircase in 3in stilettos) as well as what would be in the characters taste. 

Now, if you’re the one who’s responsible for your costume, what shoes you’re going to wear is an important element to research and experiment with early on.

So, are your character’s shoes really that important? Yes, yes, they are. 

Not only are they a key factor to building your character’s movement signature, but they’re also a wonderful way to weave together your character’s multifaceted journey.

 

Acting toolbox Character Movement Work Character study Labanotation

How to break down a monologue like a movement coach

Posted on July 30, 2021
monologue and movement

Ah, monologues.

My relationship with monologues is, well, slightly strained. 

From an audition perspective, they’re a frustrating necessity, yet in a full script, they’re often an incredible way to dive deep into a character’s psyche.

So, there are ups and downs. Especially since most monologues we come across as actors are through the never-ending audition process.

We’re working on it, though, monologues and me. Both committed to making it work. But as with any relationship, time put in is key.

Now, learning a monologue is multi-layered, right? 

You can’t just learn the lines, hope on stage or in front of the camera, and expect to give a stellar performance. 

Character work is essential. 

Always. 

Even if said monologue is for an audition.

Especially if you’re working from one of those monologue books that all stand-alone with no full-length script to call their home. With those, there’s just so many blanks to fill in.

So, let’s say you’re working on a monologue, and you need to add some physicality. 

Adding physicality

Now, when I say adding physicality, I don’t mean, “when I say this line/word, I’m going to move my arm like so….”

Nope. 

I’m personally not a fan of working this way. 

Because, honestly, this puts you in danger of becoming a robot. 

Suppose you perform a specific gesture on the same word, in the same way, every time. It becomes rote. (Unless being rote is the entire point of said character/script, mind you.)

So, something I love to do is craft a movement signature for each character I play. 

Regardless if it’s a full-length script, one-act, or an audition monologue.

That way there’s a pattern of moving for the character and it’s a great deal easier to have gestures come about naturally.

I could talk about deep dives into a character’s psyche all day—interpersonal relationships, how their minds tick, behavioral tendencies, backstory, baggage, etc. 

But I’m also a movement coach. 

I need to make sure I give a role I’m learning equal opportunity to dive into the physical as well as psychological.

So, I’ve got a monologue I’m gonna share with ya, a favorite of mine from Les Liaisons Dangereuses by Christopher Hampton.

The character is La Marquise de Merteui, or in the film, Mertuil. 

Played by Lindsay Duncan in the original Broadway cast in 1985 alongside the late great (I will always miss) Alan Rickman. 

In the film adaptation, Dangerous Liaisons, she’s played by Glenn Close. 

Oh, and if you ever saw Cruel Intentions, it’s based on this story.

The play is based on the book by Pierre Choderlos de Laclos, first published in 1782.

A bit of context:

As with any character crafting, context is important.

The story of Dangerous Liaisons takes place in France, just before the Revolution in 1789.

Merteui is a self-made woman in an aristocratic patriarchal society. A brilliant woman who refuses to succumb to the roles society has demanded of her. 

A master in manipulation, she presides over her social circle by using seduction to exploit and control those around her as she deems fit. 

A rival and ex-lover (it’s complicated and confusing) plus an insider to her manipulative ways is Le Vicomte de Valmont, who, during one conspiring visit, asks her:

“VALMONT: I often wonder how you managed to invent yourself.”

Her response always gives me chills. But we’ll get to that in a bit.

Firstly, just a touch of historical costume context.

Costumes and character movement  

Before I can even get into Mertuil individually, we gotta break down what was socially appropriate behavior and wardrobe for the upper crust of French society at this time. 

Simply put, both were incredibly restrictive. 

France, at the time of the late 18th century, was firmly in the Rococo style of fashion.

Which for ladies like Mertuil, the daily wardrobe looked a little something like this…

V&A image: By http://images.vam.ac.uk/indexplus/page/Home.htmloriginally uploaded on en.wikipedia by VAwebteam (talk · contribs) at 6 August 2008. Filename was Sackbackgown.jpg., CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=5961774

The three main things I want to point out here are: 

-Panniers, which are wide hoops that rest under the skirt at the hips (why double doors were invented btw)

-Corsets (don’t leave your bedchambers without wearing one)

-Pagoda sleeves that restrict movement of one’s shoulders to the elbow. 

Bottom line, VERY restrictive clothing.

Not including the amount of makeup one was expected to wear, which is basically a mask and therefore restrictive in another way. 

This ties into the social norm of repressed emotions, women not speaking up or having any power/say over their lives, be sweet and dainty, only speak when spoken to patriarchal bs.

(The beautiful clothing of the time was constrictive for men too. I highly recommend checking out this post from costume designer Whitney Anne Adams, where she dives into the 1988 film’s costumes and history.)

With such restrictive clothing, partnered with the societal norms, we basically have a time period movement signature for women. 

This baseline societal movement signature basically says: only move if you have to, when you have to move, make it as graceful as possible wearing everything you’re wearing, oh, and sudden movements might startle your companions.

From a Labannotation perspective, I would call this: sustained, free flow though you’re physically bound and light. 

So, with those pieces in mind, let’s take a look at her monologue and see what other movement nuggets we can find. 

Monologue time!

Now,  if you’d rather see this performed vs. reading the monologue below, check out the entire scene with Glenn Close’s phenomenal performance. Valmont is the delightful John Malkovich.

Once again, Valmont asks of Mertuil:

“VALMONT: I often wonder how you managed to invent yourself.”

Her response…

“MERTEUIL: I had no choice, did I, I’m a woman. Women are obliged to be far more skillful than men, because who ever wastes time cultivating inessential skills? You think you put as much ingenuity into winning us as we put into losing: well, it’s debatable, I suppose, but from then on, you hold every ace in the pack. You can ruin us whenever the fancy takes you: all we can achieve by denouncing you is to enhance your prestige.

We can’t even get rid of you when we want to: we’re compelled to unstitch, painstakingly, what you would just cut through. We either have to devise some way of making you want to leave us, so you’ll feel too guilty to harm us; or find a reliable means of blackmail: otherwise you can destroy our reputation and our life with a few well chosen words.

So, of course I had to invent: not only myself, but ways of escape no one else has ever thought of, not even I, because I had to be fast enough on my feet to know how to improvise. And I’ve succeeded, because I always knew I was born to dominate your sex and avenge my own…

When I came out into society I’d already realized that the role I was condemned to, namely to keep quiet and do as I was told, gave me the perfect opportunity to listen and pay attention: not to what people told me, which was naturally of no interest, but to whatever it was they were trying to hide. I practiced detachment. I learned how to smile pleasantly while, under the table, I stuck a fork into the back of my hand. I became not merely impenetrable, but a virtuoso of deceit.”

Where to start!?

Firstly, there’s so much to unpack here.

An incredible monologue that is a window into the life of aristocratic women of the time and well…

There’s a great deal of this that still rings true today.

But that’s a different, lengthily, ranty post for later. I’m strictly looking at movement. Now, in analyzing this monologue, I won’t get into the phycological stuff, their relationship, her motivations, etc. 

I’m strictly looking at movement. Also, a great deal of my movement analysis is rooted in Labannotation, a dance notation system used by actors and created by Rudolf Laban in the mid 20th century.

If you’re unfamiliar with Labannotation, check out my intro post to give you a feel for the lingo that I use.

Monologue movement nuggets

Societal norms aside that I addressed above, there are two pieces in particular leap out at me when looking at this monologue, giving hints to what is perhaps her more natural movement signature:

“…we’re compelled to unstitch, painstakingly, what you would just cut through.”

Society wants her to have a sustained flow to basically everything. A gentle, light, and delicate sensibility. While she envies men the ability to operate more suddenly, rashly, and swiftly.  

“I practiced detachment. I learned how to smile pleasantly while, under the table, I stuck a fork into the back of my hand.”

She knows herself and how her body moves, employing different aspects of movement depending on her surroundings. Or, indeed, covertly at the same time. 

That sustained, free flow though you’re physically bound, and the light quality I talked about earlier is not her desired baseline. 

Now, the only time we see her feeling all the feels and entirely uninhibited to move freely is at the end, which, without too many spoilers, I’ll simply say, the mask literally and figuratively slides off. 

At this point, we’ve gotten to know her as a very detailed, calculating, and direct personality. However, here in the final moments of the story, we see movement in a way that is indirect, sudden, and heavy.

What movement nuggets will you find?

The intriguing part for me about playing Mertuil is to be able, to begin with, the baseline societal movement signature and discover her signature beneath it. 

The satisfying joy is discovering the moments where her authentic movement shines through, even just for a moment. Or what it’s like if the mask falls.

So, next time you’re working on a monologue, for whatever purpose, take a comb through it with the lens of character movement work.

Who knows what nuggets you’ll uncover to further unlock the complex human you’re playing! 

Character Movement Work Character study Labanotation

Character movement study: Taika Waititi as Viago

Posted on July 23, 2021
Taika Waititi

After last week’s post, I needed something upbeat and delightful. 

While working the other day, I had my Spotify music on shuffle, and You’re Dead by Norma Tanega began playing. Though it was released in 1966, it’s gained new popularity with the mockumentary What We Do in the Shadows. 

I immediately knew then that Viago, played by Taika Waititi, would be an excellent addition to my character movement studies.

The film details the events of a documentary crew that follow four vampires, Viago, Vladislav, Deacon, and Petyr, in their flat near Wellington, New Zealand. 

As might be expected, hijinx ensue.

It’s absolutely delightful. From vampire feeding accidents, flatmate disagreements, creative chase sequences mixed with quirky, quick wits. The list of its charms goes on and on.

From the creative minds of Taiki Waititi and Jemaine Clement, released in 2014, the film has since spawned an incredible spin-off series of the same name that is releasing its third season in September. 

I’ve no clue if Taika used Labanotation to help him develop Viago. So this post is simply me analyzing his performance from a Laban character movement perspective. 

Movement clue

Before diving into Labanotation specifically, I wanted to mention a significant clue in the script that indicates Viago’s movement. We hear it from his fellow vampire flatmate, Vladislav.

Vladislav states in an interview: 

“He’s an 18th Century dandy, so he can be very fussy.”

This is an excellent reminder that frequently, as actors, we can gain a lot of knowledge about the characters we play by what other characters say about ours.

So, a quick history lesson on the term dandy.

Merriam-webster dictionary states that dandy is: 1: a man who gives exaggerated attention to personal appearance. Or 2: something excellent in its class.

The term became popular in the late 18th century and into the majority of the 19th. Oscar Wilde, Lord Byron, and Salvador Dali are some great examples of dandies. 

“A Dandy is a clothes-wearing Man, a Man whose trade, office and existence consists in the wearing of Clothes. Every faculty of his soul, spirit, purse, and person is heroically consecrated to this one object, the wearing of Clothes wisely and well: so that the others dress to live, he lives to dress.” Thomas Carlyle, ‘The Dandiacal Body,’ in Sartor Resartus.

So, Viago, being an 18th-century dandy in and of itself, is going to inform his movement signature. 

His attention to detail of his appearance, which he needs to be tidy, also extends to his environment. 

There’s a deep love he has for frilly collars and sleeves, cravats, jewelry. Oh, and his romantic nature, of course.

To me, this also indicates a lightness in the way he moves. There’s a quirky grace to him that is simply precious and a joy to watch.

Alright, onto Labanotation character movement breakdown!

(If you’re not familiar with Labanotation or how actors can use this incredible dance notation tool to create characters physically from the ground up, check out this post! It’ll help you better understand the rest of this post ;))

Viago movement signature

In delving into his quirky grace, there is a delicate way he engages with objects. A foundational block of his movement signature is: light. 

His movements don’t seem to require a lot of effort, and even when he’s upset, there’s very little tension about how he moves. 

This is especially true when comparing him to both Vladislav and Deacon, who I would both say operate more with heavy/strong vs. light when looking at the category of weight.

Along with this, looking at the Laban category of flow, Viago defaults to the free side of the spectrum. 

Free with an undercurrent of sustained because his movements tend to linger slightly.

Lastly, the final core Laban building block I would express here is indirect. There’s a meandering energy to him, even avoidance or hesitancy.

A moment that comes to mind is when he’s hypnotizing the cops. The way he waves his hand, although it’s directed towards them, there is an indirect way he does it, as though he knows hypnotism isn’t a strong skill, and his insecurity and worries seep out in the way he moves. 

So, what we have as Viago’s default movement signature is light, free, sustained, and indirect.

Of course, there are moments where he doesn’t follow these blocks.

Such as when he is outside the window of his lady love. Though still light and sustained, his movements are very direct. 

Viago interacts physically with the world around him and also helps to amplify the others’ physical characteristics and movement signatures. For example, both Vladislav and Deacon, specifically by default, are more sudden, heavy, and incredibly direct.

18th century dandy for the win

Overall, Viago is delightful fun to watch move as Taika Waititi frankly always is. 

Full stop 🙂

Here’s to all the dandy vampires out there!

Character Movement Work Character study Labanotation

Character movement study: the Crawlers from The Descent

Posted on July 17, 2021
cave crawlers

Creature features are fun

I’ll say this: I’m familiar with the horror genre, but I’m not a huge fan. 

Rather, I don’t seek out being terrified. 

I can find enough of that in the real world.

But, creature features? Now, those…those I’m a fan of.

Especially if an actor plays said creature with makeup, prosthetics, or a suit. Pre-CGI or a low CGI project is golden for me. 

I’m always fascinated to watch these actors and see the work they do behind the masks. 

Think the xenomorph from Alien, zombies from Train to Busan, or the Amphibian Man from The Shape of Water, (really anything Doug Jones does), or, for this post, the Crawlers from 2005s The Descent. 

They’re undercover actors, really, as Craig Conway, one of the Crawlers mentioned in the behind-the-scenes video.

Written and directed by Neil Marshall, the film spawned a less successful sequel in 2009. Which, honestly, I don’t remember terribly well. 

It’s the original that sticks with me.

The short elevator pitch, if you’re not familiar, from IMDb is, “A caving expedition goes horribly wrong, as the explorers become trapped and ultimately pursued by a strange breed of predators.”

So, lots of darkness, cramped spaces, and something alive lurking in the shadows. 

Crawlers of the hidden cave

So, the Crawlers.

They may only appear for a fraction of the film, but they’re nothing short of absolutely terrifying. 

Marshall insisted on casting actors instead of dancers or stunt people as he wanted them to add character. 

By using facial expressions (which is a way to incorporate character movement!), these performances blend the familiar and the horrifying.

Covered head to toe in makeup, a fair share of prosthetics, these Crawlers still carry a human streak when you look closely enough. 

This was intended. 

The explorers, early on, come across old cave artwork, leading us to believe that the Crawlers were cave people who simply never left, evolving into what they are today.  

Now, let’s get into how they move!

Firstly, (as always) a disclaimer: 

I have no idea if the actors who played the Crawlers used Labanotation. Judging from behind-the-scenes footage, there was a great deal of prep involved in creating the Crawlers physically. Through what appeared to be tumbling, gymnastics, and contact improv. 

So, long story short, this is my interpretation of their movement work from the lense of Labanotation.

The Crawlers and Laban

These Crawlers, they’re predators. So, naturally, they’re impeccable crawlers, right? 

Truth.

The majority of the time we see them, they’re on all fours, though they can stand fully upright. 

Now, the movement signature that immediately comes to mind for these creatures is: 

Light, direct, and sustained.

I would consider this the baseline. There are moments where two of these opposites are employed, heavy and sudden. 

Indirect doesn’t happen, though. They always have a purpose in the way they move.

So, let’s break this down:

Light

Now, light (or heavy, which is the opposite) refers to the relationship with gravity. They don’t require a whole amount of force when they attack, as an example. There’s this pounce and perch on their prey way of doing things.

They almost hug the earth beneath them when they crawl, and at the same time, they’re very light on their feet.

I’m thinking of a big cat on the prowl, light yet controlled steps forward. 

We’ll add a bit of bound in here, too, as their movements are so controlled. Because, without a dash of bound, they’d simply flow freely down the cave walls, and well, that’s not very terrifying, is it?

Direct 

These creatures are incredibly direct. They set their attention on something, and they become laser-focused. 

Directness in movement, specifically, in this case, is a conservation of energy. So they only move when they need to.

It’s practical and makes sense. Anything less would seem off, less terrifying.

Time

Lastly, let’s talk about time.

Sudden vs sustained. 

Sudden referring to a movement of short duration. There’s a burst of energy, an acceleration, or a pounce if you will. They use this often when they strike of course. 

However, I would say their default is more sustained. 

The moment (spoilers) when one is crouched, unknowingly over Sam and Rebecca, Sam realizing they’re blind, is when we get a lovely moment to see it up close. 

It seems always to have some part of its body in motion, however subtle. 

As the opposite of sudden suggests, sustained is a movement that has a longer duration. As a result, there isn’t much acceleration.

The Crawler then, well, crawls off with sustained movement. Then, a moment later, Sam’s alarm on her watch goes off, and we see in a fraction of a second the Crawler shifts into sudden. 

Freedom of movement

“To let yourself go, in something like this, you have to trust your body. Although you have to be conscious of what you’re doing and choreograph certain things, there just has to be a sense of freedom. I think that’s exactly how you can confidently pull off being a ‘beast.’”-Craig Conway

There is freedom in the way that the Crawlers move.

It’s this uninhibited, primal, comfortable in their own skin kind of freedom. 

After all, they are the descendants of cave people who evolved into what they are today, and their movements represent that beautifully.

They’re incredible, really.

Though you won’t find me spelunking in a cave anytime soon to find them!

Labanotation standardized patient work

How being a standardized patient transformed my acting

Posted on May 7, 2021
standardized patient

What’s a standardized patient?

As an actor, I had no idea there was this world of incredible possibility where I could both utilize and scratch my acting and teaching itches simultaneously. 

Enter the role of the standardized patient.

A standardized patient, or SP, is an actor who works with medical, nursing, physician assistant, and dental students to give them opportunities to (put lovingly) screw up with me so they don’t screw up with a patient. 

I’ve also worked with other programs such as vet schools, where I play a client/parent of said animal, and with CHP and detectives as a victim or suspect. 

For the purposes of this post, I’ll focus on medical students just fyi.

It provides a safe space for students to stretch their info gathering skills, create and build rapport, sus out their differential (different things they believe could be going on with you) real-time, and bottom line, get those nerves out. 

My role is this: retain important info of the patient and embody them while also providing appropriate improv skills to then give the student the best ‘real life’ learning environment possible through what we call encounters. 

This kind of work has not only been incredibly rewarding but often can be a challenge too, in the best way possible. 

Sometimes my best performances are to an audience of one. Well, not really an audience. It’s more like an unwilling scene partner 😉

I’ve learned more things than I can count, not just about acting, by doing this job, but here’s the three that really stand out to me. 

(Seriously, side note, for the recovering slight hypochondriac that I am, my medical knowledge has skyrocketed, and my white coat syndrome has improved in ways I couldn’t have imagined. So, grateful from many directions. Alright, moving on, I just had to gush about that.)

Living in improv’d world

Improv. 

I feel like actors really only have two responses when improv/improvisation is brought up. Either it’s loved or loathed.

I was one of the loathed category for a very, very long time. 

To be fair, I love watching improv. However, the great deal of improv that I had experience with was the classic party games, and ‘you’re on a beach-go!’ Basically, like scenarios on Whos Line is it Anyway?

Not my cup of tea as an actor though.

Being a standardized patient turned this hate of improv to absolutely loving it because it was rooted in truth. There was a structure around it, it was grounded, and I had a template to work with. 

So, let’s say the case I’m working on is that of a young woman coming into the clinic with abdominal pain. The script would have important info such as my age, occupation, past medical history, social history, and current symptoms. 

Most scripts will have what they call a chief complaint or opening line, such as, “My stomach has been really bothering me for the last few days.” And perhaps some other peppered lines scripted throughout. 

Then you have the important info to remember, but otherwise, there’s a lot of off-the-cuff improv and, well, how the world communicates, unplanned and unscripted conversations, right?

So while I have important info to memorize, such as past medical history, the student may ask about my hobbies. Or my spouses’ name, where I went to school, the possibilities really are endless. 

If those answers aren’t in the script, its up to me to provide a realistic response. 

It’s just enough improv to stretch those muscles and gain confidence in doing improv. (Again, not the Whos Line kind of improv, but the kind of improv that is incredibly helpful when performing.) 

Seriously, this work has massively upped my improv game. 

Being a standardized patient means accurately displaying pain.

I’d say unless you’re doing a melodrama or a German expressionist piece, accurately displaying pain is a key component to acting.

Characters a great deal of time are in some kind of physical pain. Being an SP helps hone that piece of your craft in an authentic way.

So, each script will have something called a pain scale. 

The default question from the student usually goes like this…

“Okay, so, on a scale of one to ten, one being no pain at all and ten being the worst pain you can imagine, where does this pain land?”

Say my pain is at a 7 so my response would be, “I dunno, probably about a 7.”

Then encounter would continue. 

7, that’s pretty painful right?

Now, pain scale is usually where movement work enters.

I had to highlight movement, right, that’s what I’m all about after all 🙂

For this hypothetical case then, with abdominal pain that’s pretty intense, is where I bring in my friend Rudolf Laban.

The movement notation he created works incredibly well for this kind of work and any role for any medium where pain is present. 

Using qualities such as wring, slash, heavy and bound are elements of Labanotation that I utilize quite a lot. 

It’s kind of a win-win for me and the student. They get to hone their craft while I hone mine. 

Listening…lots of listening

Listening.

It’s kind of key for actors.

Well, all humans, but that’s a slightly different conversation.

For a lot of acting teachers, listening is a cornerstone of the craft. 

As in real life, it can be pretty easy to tell when someone isn’t listening. 

It doesn’t feel good when you’re on the receiving end of that. 

And if you’re in the middle of a performance, you can feel neglected by your scene partner. 

Staying in the SP encounter, and being in the moment, requires careful listening. 

And it’s wonderful to witness too because this is something that the students are learning as well. 

Doing encounters like this get’s them out of their heads, and if they start asking the same questions a few times, they’re going to see real-time a patient that gets annoyed they’re not listening. 

A reminder in self-awareness

One last piece I wanted to mention that I love about this work is homing in on language. 

People are curious creatures. I keep finding some things that people do unconsciously to be just incredibly fascinating. 

Another reason this creates a safe space for the students is for when they are learning how to approach difficult topics. 

How to deliver bad news, ask about sexual history or how to navigate a difficult patient. 

It’s always a wonderful reminder in the importance of self-awareness when I have a student do this:

Student: “What about your family medical history? Anything run in the family?”

Patient: “Well, yeah, my mom died of breast cancer two years ago.”

Student: (Writing down notes) “Good, good.”

I can guarantee the student did not say “Good” because my mother died of cancer. Rather, it was an unconscious verbal pat on the back. The student saying to themselves, “Good, good, I asked that question and got an answer, I’m doing great!”

Standardized patient work is kinda wonderful.

Not kinda, really. It’s really wonderful.

I’m not sure where I would be as an actor without becoming a standardized patient. I don’t want to ponder it, really, as I know, it’s only helped strengthen my craft in ways I hadn’t anticipated. 

And hey, some of my best performances have been to that one unwilling scene partner, and that makes my teacher side really, really happy. 

It’s a way of using my craft to give back to the community in a very practical way. 

Interested in doing standardized patient work?

If you’re intrigued, I’d recommend checking out the medical schools near you and see if they have an SP program.

As mentioned before, other schools such as nursing, vet, dentist, CHP development, and continuing education programs also hire actors to help flesh out the learning process. 

I really encourage you to check it out! Guarantee you’ll learn some fascinating stuff!

Did I mention it’s acting work you get paid for? 🙂

Character Movement Work Labanotation

Rudolf Laban’s 8 efforts for complex characters

Posted on April 30, 2021
Laban's 8 efforts

8 movement efforts for detailed movement signatures

Hey.

You’re ready to take your character movement work to the next level, yes?

Awesome!

What I’ve got for you in this post is more movement tools to give your characters that extra boost.

And, to feel great about the work you’re doing. 

Because, honestly, that’s a huge chunk of movement work, for me, at least. 

Constructing a character that is physically different from myself just adds to the joy of acting. 

Now, the movement work I’ve got for ya is via the movement work of Rudolf Laban, a choreographer, dancer, teacher, and developer of the dance notation called Labanotation. 

I’d recommend checking out my post covering the broader strokes of Labanotation to give you a strong foundation of his key building blocks before moving ahead here.

Ready to continue?

Brilliant!

Welcome to the next layer. 

What are Laban’s 8 efforts?

As we move, we move with different qualities. We walk heavily or lightly, move quickly or slowly.

To help build a character movement signature (a way that a character moves as their default), we need to break down these different qualities. 

These 8 efforts, or as Laban also called them the ‘Efforts of Action Drive,’ are ways movement is expressed when we, well, move. 

These efforts are called: trusting, slashing, gliding, floating, wringing, pressing, dabbing and flicking. 

As explained in my previous Labanotation post, these 8 efforts work alongside his bigger building blocks of flow, weight, time, and space. 

The 8 efforts, focus on switching up direct vs indirect movements.

With me so far? Great!

Then get ready to try some stuff! To do the movement thing and give the examples/exercises a try (because that’s the best way to learn movement is to leap on in and give it a go.)

Let’s keep diving in!

Laban effort opposites: thrusting/slashing

Right, so a thrusting movement is described as being, sudden, strong and direct. 

Imagine this: say you’re eating a meal and you’re done with your plate. You want to clear the space in front of you by using a thrusting action, to get the plate out of your way. Move that plate in a way that is sudden, strong, and DIRECT.

How does that feel to move in such a way?

Take note of it, log away how you feel and what kind of character may employ this kind of movement. 

Now, the opposite of thrusting is slashing.

Slashing is sudden, strong and indirect movement.

Back to the plate idea. You’ve eaten again and done with your plate. This time, get the plate out of your way with a slashing movement. Sudden, strong and INDIRECT.

How does that feel different from thrusting?

Could you use both of these for the same character depending on the moment? 

Or, does one or the other fit well into a character’s movement signature, whose baseline is more sustained and light? Either of these movements would have a greater impact, right?

Laban effort opposites: gliding/floating

Onto gliding and floating.

Gliding is a sustained movement that is light and direct. I like to think of an airplane or a skater because the movements have a goal, there’s a desination. 

So, you’re walking down the street, rather, you’re gliding down the street. Sustained, light, and DIRECT. You have a purpose, somewhere to get. But keep your movement sustained and light.

Take note of how this feels. 

Now, floating is also sustained and light, but it is indirect instead of direct. I like to think of examples like boats and balloons.

Again, you’re walking down the street, floating this time. Sustained, light and INDIRECT. You’ll get to where you’re going eventually. 

Feel any different from gliding? 

How could you use this in a character movement signature?

Laban effort opposites: wringing/pressing

Firstly, I have to say that wringing is an intense character movement choice. 

You can always choose the scale you want these movements to be at, but just a heads up, this one can take a lot out of you and takes a lot to sustain. Use caution, and remember to take care of yourself!

Wringing is a sustained movement that’s strong and indirect. 

Think of a knot in your stomach. Even if it’s a small knot, it can radically alter the rest of your movements. Wringing basically is initiating a knot and then having that sensation spread. 

So, again, with caution, give this a try: imagine there is a knot of pain somewhere in your body. It’s twisting up inside you, and it’s migrating. It’s radiating, sustained, strong and INDIRECT.

Let that go and take a deep breath. I’d recommend doing a quick body scan to check how your body reacts to a wringing quality.

Like wringing, pressing can be a little taxing, though I’d say less than writing, in my experience. 

Pressing is a sustained movement that is strong and direct. It’s really all about resistance. Resistance from one part of your body to another or an external force. 

Basically, put simply, pressing is a resistance to gravity.

So, I want you to find a chair, piece of wall, floor, or a desk and press your hands against it. You’re pressing away from your body into space. 

Now, this object starts pressing back. The energy is sustained, strong and DIRECT. Press and see what happens. 

How could you employ either of these (again keeping an eye on  sustainability and without injury) for a character? 

A character that immediately comes to mind with these is Vikings, Ivar the Boneless from the History channel. No idea if Alex Høgh Anderson used Labanotation, but seriously, it’s an absolutely incredible movement performance! 

Laban effort opposites: dabbing/flicking

Alright, last duo!

Dabbing and flicking. These are fun.

Dabbing is a sudden, light and direct movement. 

It’s kinda like a poke. Like poking water with your toes to check the temp.

I often associate hesitancy with this one and is great to use for more animal type characters.

A few things you can try: dab your fingers into pudding, dab your feet into mud, dab paint on your arm. Dab poke a friend. Sudden, light, and DIRECT.

Now, flicking is sudden, light and indirect movement. 

There’s a springing to action feeling here. 

Imagine there’s a bug on you and well, you did not consent for this bug to be on you. Flick it off! 

So, there we have it, Laban’s 8 efforts!

Take a moment to reflect on how these 8 elements felt and worked for you. 

It’s always important to take stock of how your body works best and, therefore, ways you can add them to your acting toolbox!

I will say, these 8 elements can be used independently of Laban’s basic bigger building blocks of low, weight, time, and space, but I often find they work beautifully when applied together. 

Happy moving! 🙂

Labanotation Movement for health

For actors: 5 powerful thoughts on movement

Posted on April 9, 2021
thought provoking quotes on movement

Words of wisdom are wonderful, right?

I’m a fan.

So, that being said, I wanted to give a short shout-out to some of my favorite quotes about movement (well, one isn’t about movement specifically, but I just love it so much I had to include it 🙂 )from well-known movement practitioners and developers I’ve collected over the years as both an actor and movement coach. 

Now, to clarify, each of these people quoted below are linked to a form of movement in the theatre or dance spaces. 

These techniques and practices have a huge dose of knowledge to offer, regardless if you decide to practice it yourself. Though, I would argue if you’re struck by one of these quotes, prob would be worth your while to give their work a try. 

Who knows what you may discover, right? 🙂

To the quotes!

F.M. Alexander

“You translate everything, whether physical, mental or spiritual, into muscular tension.”

Tatsumi Hijikata  (founder of Butoh along with Kazuo Ohno)

“When one considers the body in relation to dance, it is then that one truly realizes what suffering is: it is a part of our lives. No matter how much we search for it from the outside there is no way we can find it without delving into ourselves.”

Anne Bogart

“We are debris arrangers. Equipped with what we have inherited, we try to make a life, make a living and make art. We are assemblers. We forge received parts into meaningful compositions. This state of affairs is our plight and our destiny, but it also offers the opportunity to find meaning as well as to find communion with others.” 

Rudolf von Laban

“Existence is movement. Action is movement. Existence is defined by the rhythm of forces in natural balance.”

Jacques Lecoq

“There are three masks: the one we think we are, the one we really are, and the one we have in common” 

So, which quote struck you the most?

If you’re interested in any of these incredibly innovative people, I’ve written about them all a bit, so feel free to check those posts out. (For a bit more about Butoh, check out my non-stage/pen name freelance writing site)

Character Movement Work Character study Labanotation

NBC Hannibal’s Red Dragon: a character movement study

Posted on April 2, 2021
red dragon

Hey Fannibals and actors who are interested in character movement work. Let’s talk The Red Dragon.

Aka Francis Dolarhyde, aka The Tooth Fairy, aka in NBC’s Hannibal: the lovely Richard Armitage. 

It probably goes without saying that there are spoilers ahead, for those who haven’t seen Hannibal, of course. If it’s still in your cue to watch, you gotta check it out!

Seriously, go watch it. It’ll change your life. Sure changed mine. 

Good to go? Alright then, read on Macduff!

Firstly, a disclaimer: 

This is my personal interpretation of a character movement signature by the lens of Labanotation. So, as I don’t know Richard Armitage personally (though I’d certainly be VERY open to it!) I, therefore, can’t confirm he used Labanotation in his creation of Francis. 

What I can confirm is that he incorporated the Japanese art style of Butoh, but we’ll get there in a second. 

So, briefly, let me clarify something. Labanotation is the dance notation work of Rudolf Laban, and as both actor and movement coach, it’s my jam. 

There are other movement methods out there, but this is the one I primarily use. It’s the happy place my brain goes to first when analyzing movement. 

There’s a scientific streak about it that helps categorize movement into the four basic categories: flow, weight, time, and space. 

Take a peek at my post about Labanotation if ya want to get your feet wet a bit more before finishing this post… I’ll still be here when you get back.

You’re back?

Brilliant!

Armitage incorporates Butoh for The Red Dragon

Richard stated in an interview with the Hollywood Reporter back in 2015 that “I went to a Japanese art form called Butoh, which is a biological exploration of the body.”

So, what’s Butoh?

Butoh is an avant-garde Japanese dance form founded by Tatsumi Hijikata and Kazuo Ohno post-WWII. It is known for extreme, grotesque movements and often depicts taboo topics such as eroticism and death.

For me personally, it’s a perfect fit for The Red Dragon.

The movements are often incredibly slow and controlled, specifically going against all western depictions of beauty. Bodies shake with tension, performers shuffle or fall awkwardly and appear to be in constant discomfort or engaged in an internal struggle. 

Check out his attic scenes from season 3, episode 8: The Great Red Dragon, and you can see how Richard incorporated Butoh. Or his first kill under the full moon in the same episode is another great moment.

There’s this uncomfortability in his own skin that’s at play here and it’s simply incredible to watch. 

If you’re interested in a bit more of a deep dive into Richard’s portrayal and more on Butoh, check out my non-stage/pen name writing site where I’ve got a post that does just that.

Labanotation movement signature

To reiterate, I’ve no clue if Richard did any work with Labanotation. This is just how I would initially break down the movement signature of Francis from a Laban framework.

Let’s look at season 3 episode 8: The Red Dragon again.

So, from the very first moment we meet Francis, he’s riddled with tension. From the way he examines his hand, how he sits, everything about him feels bound. There’s a tightness that seems to be in play at all times, regardless of how slow or quickly he moves. 

Moving along to literally the next scene when he’s stretching in his attic, his movements are sustained. He may be moving slowly, but a part of him is always in motion, and interestingly, the bound-ness of him seems to ease, as he’s more in a state of free. He’s allowing himself to be well, himself.

Later on, when he’s adding to his Hannibal scrapbook, he remains direct during the entire scene. He’s driven, focused. The blinders are on. This is, in many ways, his primary default mode. He’s on this unwavering path he’s set himself on. 

Every movement he makes has a purpose.

These movements of pasting newspaper articles and grabbing the black marker to block out the words ‘Tooth Fairy’ are also sudden and heavy.

Also, I have to add as a fannibal fangirl because this moment is spliced just beautifully between Francis and Hannibal. As Hannibal begins writing a letter, even the way he reaches for his pencil, his movements are in complete contrast to Francis. 

Hannibal has this free sustained lightness about the way he writes where Francis’ movements are direct, sudden, and heavy. Francis’ hand is bound too, at least more bound than free, in the way he grips the marker.

And there you have it! Just looking at a few initial scenes, we gather a clear movement signature of Francis that, like him, continues to evolve as he does.

Helpful to analyze others

As actors who want to incorporate character movement work into their craft, one of the best ways to learn (in addition to do the movement things yourself), is to analyze performances. 

For Francis, his default Labanotation movement signature, the foundational building blocks, would be bound and direct. Then moving from sudden to sustained depending on the situation, he finds himself in with a dash of heavy here and there.

Simple, scientific, with room for exploration and evolution.

Watch your fav actor in one of your fav roles and take some time to study their movements. Can you come up with a movement signature for them? What would you do differently if you were playing this character? 

How can studying their movements help your own craft?

Signing off my friends, till next time. 

Character Movement Work Labanotation

How to pick the best acting movement method for you

Posted on March 12, 2021
'movement methods'

Hey actors.

Know you need to add movement work to your craft, but you’re struggling to figure out which movement method is best?

You’re not alone.

There are many different movement methods for actors out there. It’s honestly overwhelming. It seems like a serious commitment, often with people swearing one method is the “only method”. Kinda similar to what you may hear about different acting methods. 

So, I’ll state here and now, to be absolutely crystal clear, you DON’T need to choose only one movement method. 

Or you can. 

It’s 1,000% YOUR CHOICE.

My philosophy is to look into what piques your interest first. This way you can add it to your toolbox and then see what another one can teach you.

Seriously, keep adding to that toolbox, you never know when something may come in handy.

As for me, I love to mix and match, as I’ve found each role tends to require something different. I do, however, tend to come back to my tried and true favorites most of the time.

Alright, all this being said, you need a place to start. With many options out there and even more teachers, (because every teacher will bring their own spin to things), this can lead to potential paralysis, right? Which is the ‘right’ one for me?

So, here’s a brief, tip of the iceberg poke (in no particular order) of some of the more popular movement methods for actors out there. 

See if any sparks your interest!

Alexander Technique

“You can’t do something you don’t know, if you keep on doing what you know.” F.M. Alexander

Developed by Frederick Matthias Alexander in the late 1800s, this technique focuses on body-mind awareness and helping you become conscious of your unconscious habits. 

By becoming aware of your unconscious habits, you’re better equipped to unlearn them, which helps your body function to the best of its ability. Both for yourself and your life, but also as an actor.

A great example of an unconscious habit in our world these days is any kind of chronic tension. Think neck and back pain, bad posture, and the buildup of tense muscles in your body. This technique address all of that.

Something to note is it’s not just used in acting spaces, but also in more general health and wellness arenas too. I will say that the more I dived into movement work as an actor, the more I began to realize how many tools I’d learned were really useful in my life as a human. 

It may go without saying that this is a movement method many actors swear by. Including many greats like Julie Andrews, William Hurt, Dame Maggie Smith, James Earl Jones, and Alan Rickman. They’ve gotta be onto something, right?

Viewpoints

“You cannot create results. You can only create conditions in which something might happen.” Anne Bogart

Viewpoints is an investigation through improvisation of the creation of art.

This method was developed originally by choreographer Mary Overlie with six viewpoints, which was eventually expanded upon by acting teachers Anne Bogart and Tina Landau who have nine viewpoints, and it’s used by actors and directors all over the world. 

Its focus is on the exploration of human emotions, no matter how large or small. The nine viewpoint system by Bogart and Landau are shape, gesture, repetition, architecture, tempo, duration, topography, kinesthetic response, and spatial relationship.

Something that’s interesting about this technique is that it’s not intended to be seen as a part of the finished product, but rather to be used during the rehearsal process to discover new moments. 

I was involved in a production of The Glass Menagerie a few years ago and our director incorporated viewpoints into our first rehearsals. It was such a wonderful way to explore the relationships between us as an ensemble of four as well as our individual relationship with the environment around us. I remember us taking what we learned during those exercises and carried them through the entire process of the show. 

Szuki Method

“There are two impulses in theatre: to be frivolous or to make rules.” Tadashi Szuki

The Szuki method, created by Japanese director, Tadashi Suzuki, is an incredibly intense movement method.

It pulls from traditional Japanese styles such as Kabuki and Noh, as well as martial arts. If you have a background in martial arts this may be a great fit for you., though, I will add that it isn’t for the faint of heart.

Since the primary focus is on core work and discipline it requires a great deal of dedication. Lots of repetition, squatting, and stomping required here. 

My experience with Szuki is that it isn’t only exhausting, but it’ll get your legs in incredible shape. Like, seriously good shape. I will say, for actors who tend to get caught up and stuck in their heads this challenging but liberating style may be worth a try.

Jacques Lecoq

“The body knows things about which the mind is ignorant.” Jacques Lecoq

Jacques was a French actor, director and movement coach. His teachings draw on historical styles such as Commedia Dell’arte, greek chorus, mime, mask and clown work.

He founded a school in the mid-1950s called L’École Internationale de Théâtre Jacques Lecoq, which is still open today in Paris and considered one of the best physical training centers. It only accepts a handful of students a year and the program is conducted in French. 

In addiction to mime and mask work a great deal of other physical forms are incorporated including stage combat, juggling and some acrobatics, depending on the teacher. 

I have to say that studying mask work was definitely one of the most freeing experiences I’ve ever had while in acting conservatory. There’s an honesty that comes from it, almost a ritual nature about it that for the stage actor specifically, feels like a coming home to the Greek chorus.

Labanotation

“Existence is movement. Action is movement. Existence is defined by the rhythm and forces in natural balance.” Rudolf von Laban

Labannotation was developed by Rudolf Laban who was a dancer, choreographer, teacher, and theoretician in the early to mid-1900s.

This is the main method that I employ both as an actor and teacher and I have a whole post that goes into more details about him if you wanna take a look.

Laban had more of a scientific approach to movement, by creating a vocabulary and identifying the basic building blocks that fall into the four categories of flow, weight, time, and space.

This is a great movement method for actors to create different character movement signatures to help each one physically differ from the others. I’ve also found it’s a great technique to use in the audition space when a casting director says, “Great, now show me something different.” This allows you to show them something physically different too, no matter how subtle.

Alright, there you have it!

So, which movement method sounds intriguing to you?

As I said, really, truly, there is no “right” or “wrong” choice. We’re all unique snowflakes and what may work for you may not for others.

Who knows what you may discover about your craft and yourself by checking out these movement methods for yourself!