I approach improvisation as an awareness practice. By following the moment to moment body experience we expand our sensory field, allowing new information to surge into our nervous system. Improvisation is a practice of renewed perception; of sensing, feeling and acting anew.
For me improvisation is essentially a somatic practice. By accentuating the somatic, my teaching of improvisation is based on embodied anatomy, kinesiology and body-mind psychotherapy. Reviving and reconnecting with areas of our body that may have been ignored due to habit or trauma, will expand our expressive choices - a skill applicable beyond the stage.
This reviving and reconnecting work is inherently emotional, however, my work aims to embody that emotion toward an action - to find an expression that will phrase the emotional quality into meaningful activity. I am curious about how, when confronted by unknown, we can switch out of defensive behaviors and recruit more advanced neural circuits for social engagement. I am interested in cultivating micromovements of positive resonance and adaptive reciliency through exercises involving touch, movement, sound and language. In other words I teach improvisation as an orienting and retuning practice, which is ultimately about providing more choice. This is what I call radical embodiment. With our well-trodden habits, be they emotional, relational or physical, we only regurgitate what we already know or believe to be true. Improvisation as an embodiment practice seeks to stretch that fabric of habit, so that another choice may become possible. This is what begins to make us more whole. This is how we evolve as a species.
I teach improvisation as an ability to attune oneself with anything we may be facing - be it on stage, at work or in our relationships. Therefore I do not recognize, or uphold, artificial boundaries between art, education or therapy in my work.