Jonnie Riordan, Associate Director of Frantic Assembly's Things I Know To Be True, takes you through six warm-up exercises and provides detailed aims and instructions for use in the classroom. The exercises vary from a fun 'keepie uppie' introduction, through to more demanding cardio and circuit training sessions, all of which are geared towards developing teamwork, stamina, physical confidence and focus.
Artistic Director of Frantic Assembly, Scott Graham, discusses the collaborative process of working with writer Andrew Bovell on Things I Know To Be True, and how he came to incorporate a physical language into the production.
Adrian Lester talks to Digital Theatre+'s Creative Producer about the roles and industry realities he has encountered in his career, from speaking without words to walking in women's shoes. Lester explains how drama school teaches aspiring actors about graft, how mastering Taekwondo helped focus him as a performer, how roots aren't necessarily geographical, and how he will always, ultimately, return to the stage.
Declan Donnellan is a co-founder and joint Artistic Director of british theatre company Cheek by Jowl, whose award-winning theatrical technique reimagines classic works to put actors firmly at the centre.
Renowned movement expert and director of CSSD’s Movement MA, Ayse Tashkiran, has worked with a vast range of high profile productions and theatre companies. Ayse discusses the two main strands of her work, as both movement director and teacher, from training under Jaques Lecoq in Paris, to developing a formidable practice of her own.
Nancy Meckler was Shared Experience's second ever Artistic Director, after Mike Alfreds, and was instrumental in crystallising a distinctive performance style that celebrates the union of physical and text-based theatre.
Artistic Director, Scott Graham, describes the typical elements and intentions that make up a Frantic Assembly warm-up, considering why movement is invaluable in playing subtext and drawing an audience into a piece.
Bennett and Cox consider the difficulties of two actors sharing one role, explaining their approach to creating the character and revealing the processes they went through in order to get in sync.
Esteemed choreographer, Quinny Sacks, discusses her role in Carrie Cracknell's production of Henrik Ibsen's A Doll's House.
Sacks provides an invaluable insight into the art of choreography and movement, and delves into the processes of creating the iconic tarantella scene.
Designer Ian MacNeil discusses his role on Carrie Cracknell’s critically-acclaimed production of Henrik Ibsen's A Doll’s House.
MacNeil focuses on the practical craft of theatre design, and considers his contribution to dictating the rhythm of the story performed on stage.
Hensel chats about the collaborative nature of the creative design process and how she developed the ideas that ultimately shaped the visual landscape for Lovesong.
Designer Michael Vale illuminates the theatre design process and discusses the creative challenges he faced working on The Comedy of Errors with the RSC.
Carrie Cracknell discusses her role as Director in the critically-acclaimed production of Henrik Ibsen's A Doll's House.
In this interview, Cracknell provides an invaluable insight into the processes of rehearsing a play, and considers how extensive research allowed her to gain further context and inspiration for the production.
Far from the Madding Crowd director, Kate Saxon, discusses her work in rehearsal and the creative challenges involved in bringing Thomas Hardy’s classic novel to the stage.
Paul Hunter is the artistic director of the acclaimed theatre company Told By An Idiot. He chats about the collaboration with the RSC and his work on The Comedy of Errors.
Frantic Assembly work in a very particular fashion and Scott Graham, the company’s Artistic Director, discusses how he and his collaborators think about making theatre and the influences they draw upon when creating a piece for performance.
Director Timothy Sheader discusses his work on the award-winning production of Into the Woods at the Regent’s Park Open Air Theatre. Sheader explains why his choices were led by music more than words, as well as exploring the characterisation of these iconic fairy-tale legends.
Yaël Farber directed The Old Vic's multi award-winning production The Crucible in 2014.
Yaël explains how she drew on South African theatre practice to introduce physicality to the production, and why she felt it was important to challenge the cast's understanding of the body in performance.
Renny Krupinski worked as the Fight Director on Phillip Breen's acclaimed revival production of Sam Shepard's True West.
Krupinski shares his perspective on the collaborative process that enables a team to produce an authentic combat sequence, and how audience reactions influence his work.
Terry King, a veteran in stage combat, discusses the complexity of creating violence onstage. As fight director on King Lear he unearths the tasks and responsibilities that his role demands.
Struan Leslie created the movement in the RSC's 2010 production of As You Like It.
Struan explains how body language operates as text in performance, how important contextual concerns such as era and etiquette inform movement decisions, and why working with the physical self throughout rehearsal achieves the best results.
Desmond Barrit has a long history with Shakespeare. Having tackled numerous roles including Bottom, Trinculo, Malvolio, and both Antipholi in a the same production, Desmond shares his experience treading the boards as some of the Bard's most renowned characters and explains his criteria for choosing the parts he plays.
Actor Pearce Quigley is one of the UK's most renowned Shakespearean funny men, having played a number of the Bard's greatest clowns on stage.
Pearce shares how his route into the industry began in childhood, his experiences in finding humour in unexpected places, and the problem with playing serious.
Writer Mark Healy adapted Far from the Madding Crowd for the English Touring Theatre's stage production. Watch him discuss working with Thomas Hardy's classic novel and how he found solutions to the challenges in reducing a 40,000 word novel into a two hour stage show.
Alex Gilbreath played Juliet opposite David Tennant's Romeo in Michael Boyd's RSC production in 2000.
Alex suggests that Juliet's "Gallop apace" speech is an honest portrait of sexual awakening and identifies how disruption to the text's iambic pentameter implies a play about chaos.