Inhabiting developed in response to a need for cohesive actor’s training in the U.S.A. Inhabiting combines a wide range of tools within a flexible, yet cohesive framework. Inhabiting is attitude training for the actor. I nhabiting introduces the performer to a kinetic relationship between body, intellect and emotive expression, and can be applied to any performed text.

Inhabiting asserts that know ourselves as artists we must understand how we operate within our immediate environment: As we strive to fully inhabit the landscape of a play, a character, we observe our daily reality. Does it feel safe to be fully present in the places we live, our communities, and our relationships? And if not, why not?

Inhabiting seeks new ways to inhabit “the text” empowering students to make the leap from page to stage. Beginning with body and voice as the engine of emotional and intellectual expression, the Technique of Inhabiting is epicurian: any game, process, exercise, playful exploration that allows us to enter the landscape of the text at ground level can be key to cracking the code.

Inhabiting has developed out of psychophysical theatre practice.  With a strong focus on exploration over “getting it right”, Inhabiting frames joyful discovery as the best entry point for learning new tools. Drawing on the work of Laban, Linklater, Cicely Berry, Stanislavsky (Active Analysis), Grotowski and Richard Schechner, this technique offers expansion for experienced actors and is an excellent foundation for dedicated beginning students. 

Conceptualizing our inner/outer world as a landscape we are invited to inhabit, frees us from preconception and distances the “inner critic”.