I specialise in teaching acting based on Stanislavski theories combined with Linklater voice techniques and Laban Acting Technology based on the explorations of Yat Malgram. That is, I teach Barnes!
The importance of Rudolph Laban’s work to us as actors is his work as an observer.
This work applies to all creative practitioners. Combining the rigorous practice developed by Stanislavski’s brilliant observation and development of Actions, Objectives and their Outcomes and the result of finding the emotional truth in your work and hence your voice and body, with the Linklater approach to voice is the beginning of a exacting and exciting process that opens and informs the actors’ instrument. Integrating discoveries from all aspects of work you explore as an actor is essential practice in finding out what works for you. You build your own technique based on the discoveries of other creative explorers.
We learn to consciously observe the way we behave when we activate our sense memory.
There are eight Working Actions of Rudolph Laban. Punch, float, glide, press, slash, wring, flick, dab.
The Laban work revolves around the Working Actions and the six Inner Attitudes, Near, Mobile, Adream, Stable, Remote and Awake.
The work develops our awareness of the truth of our actions to suit the circumstances we find ourselves in. All human beings seek meaning (hence religions). All humans seek some central truth: religion, humanitarianism, etc. There is a need in all of us for spiritual, as well as intellectual and emotional, strength.
Our essence is truth. Laban’s work is based on finding the truth in every character. ‘TRUTH’. This encourages the actor to build a new vocabulary which can change the actors view of a character and hence life and the way the character lives it. It may even impact itself in giving the actor an understanding of their own emotional, spiritual and intellectual self. I dislike the idea of acting as therapy but there is of ten theraputice value in exploring what makes us tick.
Laban’s work is truth through observation of self and others: Through this work we observe first ourselves and the way we have behaved at certain times in our lives. Before we move on to apply our discoveries to the characters someone has put down on paper for us to bring to life. We explore our own sense memory recollections and process every emotional and physical reference we find when we activate our sense memory.