The recording will be available for download after the class
Each class will last approximately an hour and fifteen minutes. The last 15 minutes will be devoted to discussion and any questions you might have.
In this series of four weekly Awareness Through Movement classes this November you will learn to sense fine differences, foster curiosity, spontaneity and creativity – all qualities an actor needs to develop her craft.
Simply fill in the form above or below with your name and email.
An email will be sent you with the zoom links for you to join the classes
On the day of the class, click on the zoom link and join the class! Recordings will be available after the class.
Moshe Feldenkrais loved working with actors and said that his work could be best realized by an actor. Jerry Karzen, the Feldenkrais trainer who organized Moshe’s last training in Amherst, Ma, asked him one day, “Moshe, if you had to do it all over again, what would you have been or done?” His unhesitating response was, “An actor”.
The famous British director and filmmaker, Peter Brook invited Dr.Feldenkrais to collaborate with his theatre Bouffes du Nord and later with the Teatro Campesino. Brook discovered that Moshe Feldenkrais could demystify many of the elements that create a great actor and move them beyond the mysterious, or what people think of as just “inspiration” or “genius”. He concurred with Feldenkrais that “embodiment” was the most concrete ‘foundation of the work of every actor’.
Feldenkrais® is a fantastic learning modality for all performers, but especially for actors. It helps expand and fortify our self-image and sense of “I can – and I am”. Moshe said, “We act in accordance with our self-image. This self-image-which in turn governs our every act—is conditioned in varying degree by three factors: heritage, education and self-education.”
“Our self-image is a body image which not only determines what we think of ourselves, but also what we do and how we do it.”
In an interview with Feldenkrais by Richard and Helen Schechner in Tel-Aviv in 1965, Moshe uses “body-image” and “self-image” interchangeably; he claimed that there is no valid distinction to be made between the “self” and the “mind/body.”
Awareness through Movement lessons ask the student to feel how all the parts of themselves participate in the movement (or don’t) – e.g. to notice what potentially happens with the breath, in the spine, in the pelvis, the ribs and legs in order to reach with the hand and arm most effectively – and thus with this awareness every gesture and action becomes more fully embodied and meaningful. And less experienced actors can lose those meaningless gestures that pose as “gestures”.
Schechner further asks Moshe, What is Good Movement?
Moshe answers, “good movement is that which suits the part; but it’s easier to recognize bad movement than to say what’s good about good movement.”
“Good movement should be reversible. For instance, if I make a movement with my hand it will be accepted as good, as conscious, clear, and willed movement if I can at any point of the trajectory stop, reverse the movement, continue, or change it into something else.”
‘The richer, the more varied the possibilities of your movement landscapes, the more powerful you are. And the more imaginative you are, and the more fun you are having.’ – Dr. Michael Merzenich
“In addition to personal development possibilities it offers to all, this Method has several significant applications for the actor, the first being “the tuning of the instrument.” Most actors spend a great deal of time getting themselves in shape or learning how to move more in the way they think they should (or worse yet, how someone else thinks they should). This sort of training has its place, but it offers a very limited understanding of what is really available to us in terms of really tuning our instrument. The way in which we use ourselves is so intrinsically related to our habits that the more we work out or exercise, the more we become the same. When we take on a particular style of movement, we tend to “layer it” over ourselves and most often need to use a great deal of energy to maintain it. In the end, we actually begin to narrow our expressive range.” – Alan Questel
© Chrish Kresge 2021