Selected Shows
Clients
About Face Theatre, Blue in Good Way, Chicago Shakespeare Theatre, Citadel Theatre, Drury Lane, Edge of the Woods, First Folio, Griffin Theatre Co, Grinnell College, Gustavus Adolphus College, Jackalope Theatre, Idle Muse, Inkwell, Lifeboat Productions, Metropolis Performing Arts, Milwaukee Reperatory Theatre, North Eastern Illinois University, Northlight, Northwestern University, Ovation Performing Arts, Proboscis Theatre Co, Redtwist Theatre, Remy Bumppo, Roosevelt University, Steppenwolf Theatre Co, Teatro Vista, Theatre Wit, The Gift Theatre, University of Chicago, University of Wyoming, Victory Gardens, Writers Theatre
It is my privilege to support artists.
Intimacy Direction was born out of the necessity to create a better working environment for actors, directors, and stage managers. With guided exercises topractice establishing and honoring one another’s boundaries, and a shared language to use around moments of contact, actors can experiment in rehearsal with confidence. Intimacy Direction takes the guesswork out of physical storytelling.
This work is vital, because when the body is the instrument, many situations and circumstances can cause harm. That harm can impact an artist in their future projects. It becomes a burden for that individual to ‘handle’, somehow. They may push against that bad experience, or try to incorporate it, or try to reclaim it. Many artists have been expressly instructed to process their pain through art. Others do it unconsciously. Handling these scenes delicately, knowing that actors come to the work with all sorts of different energies and different desires, feels sacred.
I see the role of intimacy direction as an opportunity to uplift the folk wisdom of our industry. With the right tools, we can stand in a circle and make decisions that benefit everybody.
This work is vital, because when the body is the instrument, many situations and circumstances can cause harm. That harm can impact an artist in their future projects. It becomes a burden for that individual to ‘handle’, somehow. They may push against that bad experience, or try to incorporate it, or try to reclaim it. Many artists have been expressly instructed to process their pain through art. Others do it unconsciously. Handling these scenes delicately, knowing that actors come to the work with all sorts of different energies and different desires, feels sacred.
I see the role of intimacy direction as an opportunity to uplift the folk wisdom of our industry. With the right tools, we can stand in a circle and make decisions that benefit everybody.