From Lecoq and Laban to Michael Chekhov and Suzuki, U.S. movement training derives its strength and purpose from abroad.
Capturing the purity and energy of not moving is the roof of the invisible body.
A good mime, asserted the late Marcel Marceau, trains to be an athlete of the heart.
Ten performers analyze the training regimens that animate them on stage.
U.S. movement teachers prefer either a hybrid or an integration of disciplines in the service of training the actor’s body.
What if theatres stopped using actors’ gender, age, race and body type to assign roles?
Authenticity and connection were elusive goals for Michael John Garcés. Then he landed at the helm of Cornerstone.
A crisis of conscience in Iraq becomes the raw material for ‘The Eyes of Babylon.’
An interview with Melissa James Gibson about her play ‘This.’
After 400-plus years, the approximate, half-understanding fog through which we hear much of the Bard’s language won’t do anymore.