Movement and Combat II

Building on THR 105, this second semester takes the actor's body deeper into Meyerhold-style biomechanics, treating physical precision, balance, and timing as the foundation from which character and intention emerge on stage. You spend most of the term in the studio cycling through conditioning, coordination, and control exercises before assembling them into etudes and improvisations, both solo and with an ensemble. It's a studio-lab course rather than a lecture, and the vocabulary you develop here, including basic stage combat, feeds directly into the scene work and full productions of the upper-year acting sequence.