The Williamson Movement Technique is physical training for the actor. It was created by Loyd Williamson who trained as an actor with Sanford Meisner at the Neighborhood Playhouse in New York City. He also trained and worked in the dance company of Anna Sokolow. This Technique reflects his experiences with Meisner and Sokolow. The original facility that offers this training is the Actors' Movement Studio in New York City, and the Technique is still taught here today.
At the Actors Movement Conservatory we teach a physical process that focuses on how the body establishes a connection to an imaginary world and how they can shape the behavior that flows out of this connection. We concentrate on freedom in the muscles that control breath; physical balance and alignment; an open throat and clear vibration of sound; and the creation of characters that embody this technique.
The work in its broadest sense is concerned with the physical aspects of communication. This Technique focuses on how the human body operates within the physical aspects of communication. The Technique addresses communication as it relates to two simple and discreet activities.
1.) The opening, taking in and receiving of information.
2.) The release of behavior in response to an experience.
In order for this exchange to be meaningful, there must be a true connection or contact with another person, circumstance or some other aspect to the environment.
In order to make the connection or contact in the beginning of the artistic process, the senses must be involved. Alternatively, the Technique focuses on how the body processes experiences through the five senses, and stimulates truthful behavior when we are involved with the circumstances and relationships of the imaginary world of a script.
This Technique is unlike any other physical training for the actor due to its focus on the body as a processing tool. This is especially helpful in the creation of the inner life of the actor: the imagination and the emotional connection. The Technique is very useful for opening the actor to his or her own impulses, and freeing them for truthful and vivid behavior.
The following physical elements of the actor are explored in the class:
1.) Availability: The physical and emotional components of the body.
2.) Imagination: The ability to physically inhabit your own unique creative inspiration.
3.) Expressiveness: The permission to behave in a free and instinctive way.
4.) Awareness: of your own habits, body and self.
5.) Physical Skills: breath, alignment, ease of motion and control.
"I just finished my first round of auditions for my school's department shows since my summer at AMS and I had to write to you immediately and thank you, because the institute this summer completely changed me as an actor. I did a full Williamson warm-up before my audition, and felt loose and confident and ready when I entered the room. It was a group audition, which I used to feel really shy about, but today I had so much confidence and was so open and had no apologies. Everything we did this summer fed into this audition and no matter what happens with it, I had fun with it, and know that I am a different and better actress after studying with you and your staff this summer. Thank you, thank you, thank you. I can't say it enough." - Love, Kiki Samko (Summer 2007)
"Thank you so much for the beautiful opportunity and all the wonderful memories! I recently finished "Anna in the Tropics" at FIU and I could never have tackled the role of Ofelia (a 50 year old Cuban Woman) without the skills I developed at your school! I hope we can work together again very soon ! Also, many of my classmates are very interested in your Summer Intensive after seeing the transformation the six of us had last summer." - Emily-Jayne Frail, Florida (Summer 2006)
"The Actors Movement Studio Summer Conservatory was a unique experience because not only did it allow me to tap into emotional resources I had not previously explored, but it also provided a one-of-a-kind bonding experience that has yet to be repeated. I am fascinated by Michael Chekov technique and I still use viewpoints in my current projects. It was a pleasure to play Oscar Wilde in the Salon because not only did it give me a chance to really perform, but it also gave me the opportunity to learn a lot about what went on in the personal life of a genius whose work is a classic and a must for everyone who's interested in theater and life in general. My experience that summer is one I could not speaking of for several months after it was over and it is one that I still think of when people ask me for recommendations for where to spend their summer." - Amir Levi
"My experience at the Summer Intensive Institute of 2005 was incredible. I learned so many things not only about the dramatic craft but about myself, too. I experienced how to "let go" and be. I am a big fan of Williamson technique and Michael Chekhov technique. Catherine Fitzmaurice was also very helpful, I learned all these amazing exercises which help me open my voice even more." - Ina Imprescia |
