Movement And Fight Director

Trained in corde lisse, sling, bungee and harness work on wires, I draw upon these skill sets when developing aerial performance and vertical dance choreography. Training actors to fly, to develop harness , aerial awareness and build the strength and skills to maintain a strong core whilst delivering the performance is at the heart of this practice.

OPERA

The production of Aida utlised the Japanese sword form of Battodo Fudokan, taught by John ‘Maki’ Evans, this source gave the choreographic work a solid base in sword technique, which was developed within the choreography and the direction of each scene.. The training process consisted of demanding physical exercises similar to Shaolin training, and in the Valencia production we were honoured to have Zhu a 32ndgeneration Shaolin working with the production and in the rerun of Aida at the ROH.

 

Le Clemency de Tito demanded research into Roman sword and dagger technique. There was little recorded of this style of fighting, much was determined about the way of fighting by the nature and design of the swords from that era. Using replica swords and daggers and the way of fighting as 1 on 1 as well as a unit, the movement, technique and style was developed, which fed into the choreographic process.

La Clemenca Lyric Opera Chicago 2014

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