Movement Department
Here I sit in the Literary Department of Actor's Theatre. It's a really cool place that's really full of scripts, because Actors Theatre produces more new works than any other theatre in America.
I think ATL should have a Movement Department too.
I guess there wouldn't be too many books, just some on a couple of shelves. It'd need a lot of open space too. Really it'd be kind of a small rehearsal hall. The staff would be the Head of Movement, who would be a Bio-mechanical director, and the Associate Director of Movement (or maybe the Body of Movement?), who would be a modern dancer with experience in a lot of different performance disciplines (RE: Susan Creitz).
I guess they'd come in at 9 every day like the other departments, and just improvise in their office. Maybe improvise in the morning and make compositions in the afternoon. People go to the lit department to find plays to read or get advice from the dramaturgs there. So I guess directors and actors would go to the Movement Department for a lot of different reasons. If they wanted someone to guide them in a warm up. If they just wanted to get out of their brains for a little while. If they need help with a scene. Or if they were looking for some imaginative inspiration.
The apprentices assigned to the Movement Department in the afternoon would just come in and move with the Head and the Associate (or Body?).
The Movement Department would probably play pranks on the rest of the building. Lots of Geurilla Theatre.
And they'd go around to rehearsals and make sure that the movement in the blocking was always dynamic, and that the stage pictures always told the story- the same way that the dramaturgs sit in on rehearsal and give advice on the script.
You know it'd be cool.
I think ATL should have a Movement Department too.
I guess there wouldn't be too many books, just some on a couple of shelves. It'd need a lot of open space too. Really it'd be kind of a small rehearsal hall. The staff would be the Head of Movement, who would be a Bio-mechanical director, and the Associate Director of Movement (or maybe the Body of Movement?), who would be a modern dancer with experience in a lot of different performance disciplines (RE: Susan Creitz).
I guess they'd come in at 9 every day like the other departments, and just improvise in their office. Maybe improvise in the morning and make compositions in the afternoon. People go to the lit department to find plays to read or get advice from the dramaturgs there. So I guess directors and actors would go to the Movement Department for a lot of different reasons. If they wanted someone to guide them in a warm up. If they just wanted to get out of their brains for a little while. If they need help with a scene. Or if they were looking for some imaginative inspiration.
The apprentices assigned to the Movement Department in the afternoon would just come in and move with the Head and the Associate (or Body?).
The Movement Department would probably play pranks on the rest of the building. Lots of Geurilla Theatre.
And they'd go around to rehearsals and make sure that the movement in the blocking was always dynamic, and that the stage pictures always told the story- the same way that the dramaturgs sit in on rehearsal and give advice on the script.
You know it'd be cool.