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Movement has direction. A dynamic, strength, rhythm.

An articulation.

Same goes for speech, lecturing, acting, singing, 

For music playing.

Whatever we do, we do it through movement.


I help students from different Academies (Movement, Music, Design) to improve their performance.

It's a tricky job because at first they think they have to do something more, and they are not willing to, as they are already overwhelmed with their main subject of study.

When they perform, they assume their task is to "be good".


What are they doing, and why are they doing it?

They think they’re there to be listened to, looked at: in other words, to be judged. 

They think in terms of judgment, Then they use cliches as shield. 

Or emotion as a cradle, a place where judgment is left out, eyes closed, I play in my magic inner enchanted wonder-world.

But that's a preconceived idea.

They are there to communicate, to share with others their own research.


In the moment they realise this, the structure and the ego are forgotten, and a simple act of communication occurs. Brain becomes humble, emotion still, and body alert.

I observe how people move, their patterns of behaviour.

Where they hold their bodies, where they concentrate their efforts.

What happens if they let go of those preconceived ideas and habits that make things difficult for them.

Our body is made for dynamic balance. Sometimes we block it and we become rigid, others we get lost in our emotions.

We stammer, our speech becomes incomprehensible. Or we talk too much, or too fast. Always in the same tone, without dynamics and rhythm. Same goes for music playing, or dancing. There's a lack of expression, of freedom.

I guide people to discover the simplest of truth, which is, what they really want to say, and to connect their body-mind to fully access- and give access- to their vision.

Posture is not  (only) an aesthetic factor, rather it is about using our own skeletal design well to feel more grounded and expanded. And most of all, clear in our thinking.


Each of us is prepared and competent on his own topic. But I'm not talking about this kind of thinking. I speak of the thought in action, the thinking we activate as we try to communicate to other people.


What common thread do I want to follow, what is the back bone of the speech, of our choreography, of our music. And what the tone, the mood.

Through which expressive means do I want to articulate the details, the embellishments of my composition.

I can make a theoretical discourse, and make leaps of meaning using plastic, chromatic references, make leaps between the levels of discourse.


Working on these aspects makes the preparation of the performance very intense, a powerful creative moment.

Composition & thinking.

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