Lead artist/researcher: Thomas Kampe.

Collaborating artists: Lizzy LeQuesne, Colin Poole.


is part of a series of enquiries probing the application of the Feldenkrais Method within a Performing Arts context.

The work of Moshe Feldenkrais aims to access an awareness of the learner's or performer's self through movement and through verbally led enquiries. The 'Awareness Through Movement' and 'Functional Integration' approaches developed by Feldenkrais from the 1940's up to his death in 1984 use analyses of behaviour to improve cognition of the student.

Feldenkrais was influenced by Freud, Behavioural Psychology, and Hypnotherapy. As a scientist he attempted to develop a movement based educational system that allowed the learner to use conscious means to access aspects of their un-conscious, and to question, re-condition, improve and change habitual behaviour.

Parallels to the work of Moshe Feldenkrais can be found in the Spritual Realism of Konstantin Stanislavki , the movement based, stylized theatre techniques of Vsevelod Meyerhold, and in the theories and practices of Bertholt Brecht. My last research project within this series partially looked at Feldenkrais' use of de-familiarisation strategies within the structuring of his 'Awareness through Movement' lessons and probed those within a choreographic context.

This project aims to:

  • Explore psycho-physical and impulse-strategies within Feldenkrais Method in
    relation to other body-mind related approaches to theatrical physicalisation -
    such as Laban Effort/Shape, Warren Lamb's Posture/Gesture, Michael Checkov,
    Grotowski-, Action Theatre- based strategies.
  • Link the 'impression' and 'self-awareness' perspectives offered by Feldenkrais
    with more 'expression' oriented modes of training and learning. The
    Feldenkrais Method offers an organised system to access aspects of sensing
    and thinking through movement within the performer. However, occurring
    emotions, feelings or 'states' are usually not addressed actively within a
    class or training context. Feldenkrais developed modes of working with
    movement as text or shared code where the learner is educated as
    'recipient' or 'receiver' first, with little space for expression, or emotionally
    driven activity.

    'Crossing' is an ongoing research project which engages with these research aims via workshops with invited practitioners, rehearsals and most recently a structured improvised performance during 'Escapade' Improvisation Festival staged at The Rocket on 09/11/2006.

    The project probes some of the following questions:

    • What similarities and parallels in practices and theories can be found between Feldenkrais work and selected psycho-physical theatre practices?
    • How can the Feldenkrais Method be a useful resource for psycho-physical and expressionistic theatre based training.
    • How can psycho-physical theatre practices enrich practices inherent in the Feldenkrais method?
    • How can these theatre practices be useful for the dancer?
    • How can 'hands-on' strategies found in Feldenkrais''Functional Integration' be used as resource for performance making?



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