The Singular Laura Eason
How the many facets of one theatre artist—adaptor, actor, artistic director—have forged a major playwriting voice.
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How the many facets of one theatre artist—adaptor, actor, artistic director—have forged a major playwriting voice.
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.
Memories of 2 men who infused ‘Fiddler on the Roof’ with their own smiling, brilliant personalities.
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.
Philip Himberg’s Sundance theatre lab is angling to become the American theatre’s premiere new-work development center. Is it working?