I am interested in investigating the structure and implementation of movement and mime techniques to support a wide variety of expressive mediums.

Understanding the kinetic connection

Understanding mime, movement, gesture, and performance. By understanding the structure of human communication we can see how movement and choreography lends authenticity to acting. Pedagogy and Intuitive Learning One goal is to embrace a symbiosis of pedagogical and intuitive learning. Letting us in to a higher level of performance by understanding the the bifurcation of the human brain. Left brain pedagogy and right brain intuitive learning have unique experiential strengths, and the difference between the two approaches is akin to building a bridge between our split perceptions so our awareness is more whole and complete. By bringing seemingly disparate methodologies together explorers of personal theater can find powerful tools to guide them. Tools that are different, but compliment the process of devising physical theater whether it be comic, dramatic, mysterious, therapeutic, surreal, satirical, or melodramatic.

Narrative and Non-Narrative Development in performance
For me narrative is The Big Picture, and non-narrative is more about the business of the present moment, and is a linear representation of the now. Inversely story, dream, and journey elements can be impressionist, nonlinear, non-sequential, and that is part of the magic of the non-narrative. It can fall into the realm of the surreal, but it always seems to have the element of surprise. The beautiful part of narrative is that it makes a container for non-narrative ideas. Mapping the Journey Knowing where you’ve been helps you decide where you are going. Keith Johnstone once said that the improviser is like a man walking backwards, he knows where he’s been but has yet to discover where he is going. If you are a storyteller try using the context of Carl Jung, Joseph Campbell, and Christopher Vogel so you can apply mythological story structure to you narrative, just to give you perspective. Being aware of the unconscious and the subconscious elements of our existence informs the creative process. Incorporating the unconscious in a conscious manner may sound like a paradox, but it is an effective way to invite the Muse. Start by writing down the key elements of your story/performance on large index cards.

Kinetic Carding
My Kinetic Carding system is a way to record the creative journey, and perhaps even develop a script, a play or even a film. It is a form of indexing, and I love it because of it’s fluidity. The ability to restructure, and change at any moment is the beautiful part of using cards to map out your concept. Another reason I love it may be because I borrowed the basic idea from my technical film training at Brooks Institute when we made shot lists to plan our daily scene requirements. It is supremely practical. In fact if you look at any writer’s room in Hollywood you’ll probably find them using some version of carding, whether it is post it notes or digital cards and notes. I prefer the tangible quality of actual card stock. I like the idea of a shorthand that fits in our pocket tied up with a rubber band. It is not just a digital file, it is an extant dream. The card stock itself lends a tangibility that gives the idea substance beyond the screen and digital universe. If you take the idea to the extreme you can build a referential card system and use filing slide boxes to create a zettelkasten. It can be useful to do this if you are writing a book or treatise on a given subject, and can even be applied to scripting in order to track ideas, characters, plots, etc. It is important not to get too caught up in any one approach, and just remember that it is a way to record your meetings with the muse, and way to get perspective and make a record of your ideas.