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.