MOVEMENT DIRECTION

Great Question. 

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Movement Coach

Bring story to life

Character to life

World to life

 

“Here to tell the story in the best way possible”

 

Movement

Transition

Character

 

Where are we in the story?

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It really depends. It depends on the actor, and it depends on the project. I always think of my job as having kind of two separate tracks. One of them is release work and embodiment work. So, kind of dealing with how the actor’s body responds to, or doesn’t respond to, impulses, stimuli, circumstances. How their body processes or doesn’t process what’s going on inside of them. So, in that track, there’s a lot of work in releasing kind of liberating the actor’s instrument.

 

Project Specific

Filmmkaers and Theater Directors

World-Building

Character Coaching for Film & Theater

Collaborate with theater and film directors to build out the physical world of the play.

Transitions,

More about the deepening the work of actors

Helping them to create project

Free actors instrument - expand movement potenital

Physicalize action, connect breath body & voice

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Corporate Coaching

Using the principles gorunded in what i know about physical tranformation to create east of communication

body, breath, somatic explanso

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And then the other track is character development, physical character development. So that can be pretty radical and transformative depending on who the character is. It could be a really dramatic transformation from whatever the actor’s body is at rest. Or it could be more nuanced, kind of looking at the way a character’s body might transform or shift over the course of a season or series or a play or a film. Where is their body at the beginning? And where is their body at the end?

On some projects, one of them is more dynamic or involved than the other. And some actors they’ll come to me and say, “I’m really needing to get comfortable in my body” or “I’m feeling so stuck.” For some people it’s, “I’m having a hard time letting go of the performance I just did. It’s living on in my body.” Or for some actors, they come to me and they’re like, “I really am curious about creating a physical character.” So, it’s a lot. It’s a lot of things. To me it is at least.

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Sarah can be hired as a Movement Director or Performance Coach for TV, Film, Theatre, Animation, Games, Music & Media Projects.

Sarah’s skills range from creature performance research and direction, motion/performance capture movement direction, acting & character movement in animation, actor preparation & coaching, developing a movement language and style to suit your project, developing an actor’s or character’s movement language and vocabulary, company warm ups, ensemble work, choreography.

Movement Coaching for specific roles, honouring the genre and period of the piece, environment, working with green screen, costume, prosthetics, props, the character’s inner world, personality, mental state, illnesses, conditions, psychology…

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Actors portraying characters based on famous, real-life people will also benefit from having a movement coach to help analyze, understand, and believably recreate those people’s way of moving. Lorin works directly with the actors in rehearsal and/or on set, from one-on-one coaching of principals to groups of extras. And when the actor needs a mime coach, there’s no one better in the industry.