top of page
  • Writer's pictureLaurie Swigart

ENCOUNTER

Jim Bowman


Work in pairs. Decide on your relationship, i.e. father, son, mother, daughter, hold-up man, victim, etc. Without exchanging ideas as to how they will relate, move around the space exploring different relationships through only physical positions and eye contact. Concentrate on the rhythms of your character, how they walk and relate to others. As you move, a pattern should begin to develop, and one character should] become more dominant. Work with that and send a simple but strong emotional message to the other partner. Using no words,

communicate only through body movements and the space relationships and nonverbal sounds.

1 view0 comments

Recent Posts

See All

by Kent Lantaff. STAGE DIRECTIONS. October 1996 What do theatrical employers believe actors need to learn from actor training programs? We asked a sampling of those who do the hiring in the theatre --

by Nym M. K. Nevarez. DRAMATICS. May, 1993. Have you ever watched a juggler throwing knives or bowling balls or flaming torches into the air, and wondered, "How does he do that?" Actually, it's a lot

by Shawn Lovely. DRAMATICS. March, 1994. You've been there. You're standing in the wings getting ready for an entrance. You're running through what's about to happen on stage, and trying to suppress y

bottom of page