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The Space to Move: Essentials of Movement Training Paperback – 13 Aug 2009
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About the Author
CHRISTIAN DARLEY read classics at Oxford and trained in movement in Paris, before teaching at LAMDA from 1993 onwards, where she was movement director on many productions there and elsewhere. She also conducted various community workshops and took her work into prisons and schools. She died in her forties in 2008 just after completing this book
Top customer reviews
Christian had much worth sharing - and so it was one of her best friends who encouraged her to write down her experience and thoughts on teaching and theatre; it is a testament to her spirit and generosity that three of her closest friends got together over a year to edit her book, supported by the principal of the drama school where Christian used to teach, championing her work.
I was working with Linda Baker at the time when she began to work on the manuscript, so I have had a special connection with this book. Reading the first draft was a joy. And reading the finished product made me feel like someone was articulating my own values in a much better way than I ever could.
The Space to Move is precisely about that: about creating the space for actors to move and therefore, feel. You can't act without moving - even if that movement consists of just your breath fueling your stillness. Only yesterday at a mask workshop, I was reminded of the need to move to discover during improvisation. Move, continue moving and the thoughts and the feelings will arrive. You just need to create the space for them.
Christian gets to the heart of what actor training should be and if you are interested in theatre but have never been through any kind of formal training yourself, you should read it. For it explains what drama training should be: discovering yourself, discovering others, surrendering to the work and above all, allowing the joy of exploration to come through.
If you are a theatre practitioner, especially if you are in charge of facilitating the work of others (as workshop leader, as director) then I urge you to read this book. It talks about issues such as trust - how trust can only be built through weeks and needs to be built slowly; it talks about the importance of contact work; it talks about how we should work on the voice through the body, as this is its shell. And all of this is done with warmth, care and humour. Just like theatre training should be.