I believe that it is vital to create—and to live—in your body. Minds are great, but minds can be so much more when they are paired with and complemented by bodies.
The kind of theatre I like seeing affects my body. I, in turn, want to create theatre that also makes people feel things physically and viscerally. I want audiences who see my work to feel compelled to move, or cry, or vomit—really, anything other than go home and turn on the TV. I want people to feel something that they can’t easily reason away.
In order to create work that has this impact I think it’s crucial for that same vital, gut-based energy to be present in both the creation and the performance of a piece. This is why embodiment and awareness practices such as visualizations, Contact Improv, yoga, and sensory observation are at the core of my way of working. I aim to get the body moving from the inside out so that energy can be accessed and directed in truthful, powerful, and striking ways.
Stillness and doing less are also essential components of how I create. I think that the less we do—the less we try—the more interesting things bubble up. When we exert a lot of effort, it’s usually in pursuit of something we know and (at least somewhat) understand. Ceasing that effort often leaves us in a deeply vulnerable and uncomfortable place. And, if we can stay there, that’s usually where the most sincere, dynamic, and engaging work happens.