Theater FSP, London


– You can adjust quickly, quickly and efficiently. I’m not interested in, “Oh, did I” (mumbles dance instructions) “Oh, sorry about that.” You might as well watch the world die. Simple. Three people run, go. Fantastic, well done. Go, go, go, go, go you three. Everyone’s in this. Nice, very nice, move. Good, good, good, lovely. Lovely, stop those arms. Keep it, keep driving it. On the drum, these three will stop. Two others will be running. (beats drum) – Fantastic, well done, excellent. Really good choreography. On the drum, these will stop. One person will be running. (beats drum) Lovely, relax that left arm. Just let them hang. There you go. Move a bit more, draw a
bit more from your pelvis. That’s nice, they’re not leaking. That’s better. Listen to that rhythm. She’s the best at doing this. Nobody else can do this
quite as well as her. This is her run. Feel it pass you, how it stirs the air. On the drum, she will stop. Somebody else will be running. Nobody drums, beat. (beats drum) – Very nice. What they feel about their own body, it’s nothing. It seems personal. It is personal because someone says, “Lift up your left shoulder.” But it’s to find the state of neutral. Okay, so who needs, so who wants to go? Thank you. Okay, here you come Adrian. Just explore this space. This is being as yourself. Don’t play anything. Good. Note down what is particular to Adrian. Looking at his body. Good. In your own time, I want you to find somewhere in this rectangle where you’re comfortable
coming to a standstill, where you can observe these two walls. Long wall and the short wall. Just be there. I want you to think about
someone you love, who you miss. So it’s simple, just think about it and let it affect you. If it needs to affect you,
let it into your body. Don’t deny it, (mumbles instructions). Down the wall, just the front row. Find someone, stop at
someone that intrigues you. Walk down the wall,
make up your mind first. Look at them. On the long wall, find
someone that intrigues you. I just want you to take this on board. You need to let them know how much you miss that person you thought about. This isn’t that person. You need to let them know. When you’re done, go down on the right, down to the corner. Turn left along the short wall. What would you say? Tell him. – You favor your left side a little bit so you have this lean where your left side is a little forward and your
arms lean from your body but the left is always a little bit more. When you walk, it seems– – [John] Quite purposeful, isn’t it? – [Adrian] Right arm just … – Yeah, because it’s, I think it’s because there
is a slight twist here, slight twist by down there so then that is personal and
this is the right arm there. Kind of gets a little … – You lead with your head. – [John] You do lead with your head. Full of thought, isn’t he? What is it like when he? – I was really surprised
when you took my hand. – [John] So was I. – Yeah, and, but I don’t know, it was really– – [John] It was open, wasn’t it? – Yeah, it was real open and honest. – [John] Yeah, it was. – It just was what it was. – Confrontational but in
a real physical sense. You have no, it didn’t, it didn’t angle at all, did it? It was right there. – When you said communicate to me how the person is missing, I actually did really feel it. – [ John] You did? – Yeah.
– [John] Yeah. It’s very nice because it
was really unfluttered. It was very pure. – Going to plays at the Nashville Theater, Nick Lowe, all of those great productions that we seen come to mind. And going to other acting
classes that students, like graduate students
at Lambda are doing, to see the caliber of their acting is just amazing to me. I’ve been in all of
like every single actor, have gotten into Lambda .

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