My teaching centres around an axis of embodied transformation and creatively imagining identities. In my personal work as an actor I have created roles within contrasting performance paradigms: epic classical protagonists, psychologically real portraits within contemporary film, post-dramatic intertextual theatre, masked characters and autobiographical creation. My teaching is primarily invested in facilitating students to deepen their capacity to use themselves creatively in their work as well as framing processes of transformation through attentive analytic, physical and conceptual reflection. Ultimately, I believe in work in which knowledge of self informs and enriches the capacity for meaningful interpretation and embodiment of character within fictional worlds or real life. I value post-structuralist interrogations which contest the absolute and irreducible essence of identities and given how mobile our conceptions of identity may be, preparation for any given role necessarily involves pragmatic engagement with the assumptions inherent in the world that engenders or informs such a character. The magical other worldliness of mask is compelling precisely because it channels absolute characters without a historical past who live through being incarnated in a compulsive present. In psychological realism we evoke the inner world of our audiences in accomplishing an undefended public intimacy in ourselves, embodying the psychic minutiae of an other’s life through the very fabric of our intellectual, physical and emotional selves. Formally contrasting and distinct methodologies of fictional embodiment share a dependence upon the body as an expressive instrument and demand an ‘ability to recreate seemingly from within the nature of a human other than oneself’. I remain fascinated by how paradigms of thinking and practices of the body enable meaningful transformation and communication within fiction and life.
My own creative practice is wide-ranging and I enjoy fostering and facilitating others to achieve a creative fluency. Although my particular specialism attends to performance within multiple modes of fiction/expression, I am as invested in how people creatively engage themselves.
I can offer workshops or courses in performance technique or create sessions directed towards a reflective engagement with particular content.
Techniques: Acting on camera, psychological realism, mask, physical inhabitation, chorus work, contact release, object manipulation, puppetry, story-telling, improvisation, and classical text
Recurring Themes: Subjectivity/Identity/Multiplicity/Transformation/Acting/Embodiment
Previous clients include:
- Northampton University: I currently lead acting on camera and movement psychology courses
- The National Film and Television School
- York University
- Giles Foreman Centre for Acting, London
- Trixter, Paris