Embodying a character through movement

In 2020, we welcomed Diane Alison-Mitchell to Guildhall as Head of Movement. In this interview, we speak to Diane, movement tutor Ingrid Mackinnon (dance/social dance) and first-year Acting student Willy Ramnek Petri to find out what movement training involves. 

Q. First question - whose ‘movement’ do you admire and why?

Willy: I always have, and always will admire Jim Carrey; for many reasons, but certainly for his way of expressing himself through the body. In perfect timing of gestures and facial freeness. In that awoke aliveness, he is always exploding with charisma through every cell of his being. 

Diane: I try to see movement in all its forms and all bodies. Stillness can be the most compelling movement of all.

Q. Diane, how does your job differ from that of a choreographer? 

Diane: Movement training supports the actor to embody character and transform. This is through developing an open, responsive and expressive physicality - working, thinking, and imagining through the body.

Movement takes place throughout the three years of training with the main bulk in the first two years. In third year, that work continues – mostly through public productions.

Q. What kinds of techniques do you use in class? 

Diane: We might explore movement techniques that focus on somatic work - sensing, noticing the body to gradually build strength, co-ordination, use of breath, space or weight. Other techniques might focus on analysis and expression of movement qualities.  The work is improvisational in its nature and features sharing, group and ensemble work.

Ingrid: My focus is dance technique and finding ways to make it accessible for actors in training. We have looked at everything from contemporary/modern dance to Lindy Hop.

Q. How does movement training help students to get into character? 

Ingrid: Developing a more nuanced understanding of their physical abilities will hopefully encourage them to make brave and bold choices in their character work.

Diane: It builds the connection between body and mind – a thought or impulse induces a physical response, internally and externally. This is how a character becomes embodied.

Movement helps them to be responsive to each other’s character’s energy, words, movement and breath. They will be able to deliver dramatic intimacy, dance and violence. They will be able to occupy the stage space and hold it with presence. And so much more!

Q. Willy, how does movement training help you get into a role? 

Willy: Movement is essential for this. To release, to get into contact with your inner vulnerability, so to share yourself with the world. In order to get there, one must open their bodies, to free the breath. And only then are we in a state of playing, of being malleable. To nurture the sense of being shapeless at first, to then fill any character’s skin.

Q. What has been one of your highlights of movement training at Guildhall?

Willy: The highlight for me is just one of those days when you come into the training being free from judgements, finding a flow and a generosity of your own spirit. The moments when your body loves itself and when it is not afraid of connecting with the other bodies in the space.

Q. What part of movement training have you found a challenge and how have you overcome it?

Willy: There is always a challenge of feeling ‘not enough’ for me, and through doing the techniques and staying with them persistently it enables me to grow beyond that inner critic. If you just persevere, growth is just around the corner. And also, just bringing the idea that: if you are going forward, there is no need to go fast!

Q. Diane, as a teacher, how might you get students to move out of their comfort zones? 

Diane: Assuring each person that their journey is individual and has its own trajectory and timeframe. To trust of one’s own journey.

To watch movement training in action at Guildhall, watch our short video about the School’s recent production of Pod (set in a nightclub), as well as those featuring cast and crew from productions of The Royale, and Provok’d.