Movement... Duh. Uhm... What Is It?

Movement is a type of therapy that is also one of the three pedagogues of actor training, the other two being acting and voice training.  Movement is used to help the body become more free.  For example, if a person has slumped shoulders with her head jutting forward, she will not be able to play royalty until she creates the option of upright posture.  Often, habituated patterns do not allow for the body to simply spring up and be upright if the pattern of slumping has been in the body for a long time.

What do you DO? 

First, I like to understand your goals and what you want to address.
  Past clients goals:

• behavior awareness to succeed in the workplace
• opening of the body because of limited posture (like the example of slumped shoulders)
• increased breath capacity
• fuller range of motion throughout the body
• enjoyment of each area of the body rather than disliking one (belly, legs, arms, etc.)
• to decrease anxiety

What might we do as experiments in the session?  Second, applied learning might include:

• behavior examination and practice
• guided relaxation or imagery
• gentle range of motion exploration with all moving parts
• sensory awareness experiments
• passive and active stretching
• mask work (so you use your body to communicate rather than face)
• field trip to mall to observe and discuss behavior

If you would like to try Movement, which I call Moment Awareness Development, I am offering a workshop on Saturday May 15 from 9:30am -1pm in Altadena.  If you would like more information, please visit my website www.BodybyHeather.com.  Class size is limited.  Cost is $30 - space will not be reserved until payment is made.  Or feel free to email me or call me at 626-421-6296.

Copyright 2010 Heather Corwin

 

Find Your Voice

As I get older, I am continually surprised at how much I still have to learn about myself.  I have years of training in the body, how the body relates to the mind, sensation work, voice work, applied bodywork, physiology, anatomy, and tapping into my reservoir of feelings.  And still, an avenue filled with gems is work with the voice.

The voice work that inspires me viscerally is Roy Hart work.  I would suggest a foundation of breath work (Berry, Linklater, Fitzmaurice) prior to this type of work.  In RH work, they often use a piano to play notes and the RH instructor leads the class in vocal quality.  For example, if the instructor is looking for light and thin notes that are also high pitch, we might work with the word "violin" to carry the tone.  To be clear, the sound quality is not the goal.  In other words, the Hart people are not after helping someone sing "pretty," but rather tap into the sounds each body/soul can express.  That freedom allows a participant to maximize range and cultivate sound and support in the body.  All people, not just opera singers, want this.

I recall the morning after working with the Roy Hart people the first time, my ribs ached with movement and breath.  I didn't know my ribs could swing that much!  They felt like an accordion - and powerful.  In no other activity had I been able to get my breath to be so big or support for so long - because I was breathing in huge thoughts and could ride the breath and the thought simultaneously. 

Though the voice work I lead is not Roy Hart, I am certainly inspired by the work.  Roy Hart said, "I left (being an actor) in order to go back into the world of non-art or humanity, because I couldn't stand the split between art and humanity."  Well, artists have to be their essential human self to bring life to the characters flaws.  These breathing creatures capture the imagination and heart of self and audience.

Before you can use your voice, you have to find it.  In your own way today, using your voice at the pitch, volume, and duration you decide - call out to someone you love!  They might hear you - even in another state.

Copyright 2010 Heather Corwin

Classes Keep You Fresh

After earning an M.F.A. and a B.F.A. in theatre, I felt burnt out. Training or taking another class, even though I love classes, just seemed like a burden.

And then I met Alexandra Billings of Steppenwolf West who teaches Viewpoints. At FSU/Asolo Conservatory, while earning my M.F.A. I apprenticed movement expert Margaret Eginton because I find movement to be a delightful way to stay out of my head and dive into a role viscerally. Alex takes that diving to a whole new level.

I was introduced to Viewpoints in grad school, but the Viewpoints never made sense - because I don't think they made sense to my teacher. I read Anne Bogart and Tina Landau's books on Viewpoints and it still seemed murky. Alex cleared the murk and added shimmer!

Not only is Alex incredible at conveying the purpose of the Viewpoints to her students, she also puts the onus of learning on the student without judgment. That makes her one of the best teachers I've had, and I've been a professional student for 30+ (cough) years.

If you're feeling stuck or heady as an actor, or you are just looking for inspiration, do yourself a favor and take Alex's class. It's affordable -- and inspirational. DO IT. DO IT NOW!

Copyright 2010 Heather Corwin