THE LUCID BODY www.lucidbody.com
A transformational movement training program for actors
Based on the principles of the seven chakras
Taught by Fay Simpson; director/co-founder of Impact Theatre
Available at the following locations:
Yale Drama School
Michael Howard Studios New York
LUCID BODY WORKSHOPS
with Fay Simpson
Michael Howard Studios New York
Summer Conservatory 2008
June 23-August 1st.
One Year Conservatory 2008-2009
Sept-May
Other classes
Mini Conservatory
with Charles Tuthill (scene study) and Beth
McQuire (voice)
March 3rd - April 21st 2008
call 212-645-1525 to register
Fall Workshops
TECHNIQUE-BEGINNER
Eight week workshop
September 18-November 6 (8 classes)
Thursdays Evenings 6:30-9:30pm
Price: $485
TECHNIQUE-ADVANCED
Six week workshop
November 13-December 18 (Skipping Nov 27) (6 classes)
Thursdays Evenings 6:30-10:30pm
Price: $425
call 212-645-1525 to register
www.michaelhowardstudios.com
THE
LUCID BODY Description
• Improve your posture
• Increase your body’s flexibility
• Open up emotional resistance
• Clear behavioral habits
• Increase your acting range
• Move away from “type”
We know the ‘truth” of our gut instincts. We pay attention
when we get the “butterflies”, or become nauseous. In the
classic movie, Double Indemnity, Edgar G. Robinson has “a little
man” that ties knots in his stomach to tell him the truth. These
are reactions of our visceral body responding without “brain”
interference. The Lucid Body is a method of training that engages the
mind to perceive the body’s organic responses, allowing the actor
to be physically connected instead of being a “talking head.”
Objective:
The goal of this class is to unleash the emotional and physical possibilities
of the body by first drawing awareness to, and then breaking the habits
that bind the posture in a fixed stance. Through deep yoga based floor
work, and an audible exhale, the student will discover areas of resistance
that , once expressed, will offer a wealth of acting material in the future.
With the use of choreography as text, the student will learn about the
kinesthetic feeling of emotional flow, where the mind steps aside and
allows the body to lead.
Letters from students:
“Thank you for making a difference, for challenging me, and for
inspiring me to challenge my soul.”
“”You’ve helped not only in acting, but in every walk
of my life. Here’s to walking taller, and stretching as far as I
can!”
“I cannot tell you how much I have learned about my myself, and
mostly about my heart…”
“I am forever changed by this work. You have given me a whole
new way of seeing life, let alone theatre.”
The Chakra Centers:
“…organizing centers for the reception, assimilation, and
transmission of life energies.” Anodea Judith;PH.D
The seven energy centers each govern qualities that pertain to different
sides of oneself. Here are one word descriptions to simplify my explanation.
First………..Survival
Second……Sexuality
Third………Ego
Fourth……..Heart (truth)
Fifth……….Communication
Sixth……….Intuition
Seventh Abstract thought/Divine
connection
Using meditation techniques to access the “higher” mind, the
actor will explore the chakra centers in an effort to understand the evolution
of man inherent in his body. These centers, once considered diagnostic
tools for the health of the body by the Hindus, can be accessed by the
actor not only to repair his or her own energetic flow, but also in understanding
the energetic patterns of different characters.
An example:
Joe Acting student grew up micrometric the suburbs, with strict parents
who demanded top-notch school work, and no talking back. It is now
time for Joe Actor to play the crude, loud, working class Stanley Kowalski
character from Streetcar Named Desire. How does he approach a character
whose history is the opposite of his own?
He first has to “cop” to the fact that he may be repressed
in areas that need to be released. Seeing oneself clearly, and without
“judgment” is a large part of this work. Diagnosing oneself
is the key to transformation. Maybe Joe Actor is angry, but has never
expressed it. He doesn’t need to judge himself for that. He
just needs to see it, so that he can begin the work. The instinct
to punch could be trapped in his body like a lion trapped in his den.
The fear of perhaps hurting those he loves could be inhibiting his ability
to rage. Joe Actor can explore the lower three chakras to start to
unravel the complexity of the repression in his body. He can ground himself,
connect to his baser sexual desires, and explore the physical prowess
of a working class man. With careful instruction, this actor’s body
can change energetically to suit the needs of the play, and perhaps, as
an added bonus, illuminate his life. The Lucid Bodyis a technique
for actors, but also for anyone interested in increasing their vitality
by cleansing their energetic flow.
Also Available:
One day workshops
Impact Theatre professional training workshops
Private
sessions