Course
description
Wake up your body, return from text to presence.
In theatre, our focus is often on text, analysis, and meaning. But the body stays behind. Movement for Actors creates space to slow down, listen, and restore physical responsiveness. Through structured movement work - including spinal mobility, level transitions, tempo and amplitude exploration, ensemble responsiveness, creative physical tasks that activate the imagination, and attention to how space influences movement and decision-making - the course builds the physical foundation of acting:
awareness and control
coordination and clarity
physical range
translating intention into clear physical action
During rehearsals, actors rarely have time to work directly with the body.
They rely on familiar physical patterns instead of responding to the demands of the scene.
This course provides that focus, so the body supports the work instead of limiting it.
Movement for Actors returns attention to the body as the actor’s primary instrument.
Student Level
Open to actors of all levels of experience.
No prior movement or dance training required.
Course Language
Bilingual instruction: the course is conducted in Russian with consecutive translation into English. The format is live speech with real-time translation during the session.
Learning Format
This course includes both individual work and direct physical interaction/partnering with other participants.
What to Wear
Wear comfortable clothes and soft shoes. Make sure your clothing allows full movement and work on the floor.
What to Bring
A bottle of water.
Lessons
3 Lessons
Date / Time
March 7, 14, 21
10am - 12:30pm
Location
Hutchinson Hall, University of Washington
4276 E Stevens Way NE, Seattle, WA 98105
About Instructor
Anna has always been fascinated by how movement and gesture reveal character. How the smallest details - the tilt of the head, the way the body holds itself, a subtle gesture - can tell us more than words and move an audience far more strongly than speech. She is a graduate of the Moscow State Institute of Culture and has choreographed and movemented directed over 40 productions in her native Moscow and abroad. Her teaching approach is to lead each performer to discover their individual physical expressiveness. She doesn't teach "the right way" to move. She shares principles and teaches you how to master your body.
What changes after 3 weeks
If you’re just starting out:
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The practice reminds you that acting begins in the body.
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You get time to slow down and return to physical presence.
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You start to feel and recognize your body’s possibilities.
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Movement becomes something you experience, not control.
If you’re more experienced:
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The practice creates space beyond habitual physical patterns.
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You go deeper into physical responsiveness and choice.
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You explore your body with more awareness and clarity.
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You return to the body as a primary working instrument.
what Our students say
Before: “I feel like I can move my body relatively well, but I often struggle with why. I would like to be better with self-direction. I would like to be more broad and clear with my physicality. I want to be able to make bigger choices, but also make them clear and obvious to both myself and an audience.”
After: “I feel like I have found that every part of the body can visualize an image, not just the mind. I felt impulses before I knew why I was doing it and it felt freeing - less overthinking and more experiencing. I can do a lot more when I don’t limit myself.”
Michael
Before: "Following physical impulses & seeing where they lead before questioning if they are 'right'."
After: "I’m more aware of the fluidity in my body, the connection between everything, how moving one body part can impact and change another. The power of softness and being receptive is stronger than stiffness and holding. Small changes can have a full-body impact if I let it and don’t fight against it. Weight-sharing can feel scary, but has such an openness and release and strength. I can move in cool unexpected ways to tell stories."
Sara
Before: “What my body does feels automatic, which can be good but it does not feel like it is an intentional or a choice. Example: sometimes I notice myself doing something physical and I'm not sure it's the thing that will serve the moment.” “Have a range of things - meaning to be able to do big or small or in-between.”
After: “Looser, freer. And after class #1 I was sore until Wednesday. After class #2 I was only a little sore until Sunday.” “I discovered I still can be flexible and energetic and experience the joy of movement of being in a body.”
Patrick
Before: “Getting out of my head and into my body in any way. Variety, intention, sureness, awareness. Awareness in daily life (feeling my body) and intention and variety as a performer.”
After: “More awareness of my body. More ability to pay attention to my body and get out of my head. It’s hard, but I think it’s good for me - as an actor and as a person.”
Class participant
Before: "Following impulses, letting one point lead my body into following. I would live to be more confident in my choices/actions. Let go of judgement and make bold choices!"
After: "I feel much less stiff in both my movement and my exploration of movement. Following impulse feels easier. My body can do so much more than I thought it could, and following my impulses can make some pretty cool pictures and moments. I can trust my body!"
Class participant