This book demystifies stage movement by leading you through key aspects of the author's own movement pedagogy, working to connect Pure Movement (technical classes) with Expressive Movement (imagination and application) and enabling you to apply those principles to your own theatre-making practice.

Over a number of years, Shona Morris has developed a flexible and inclusive system of stage movement training for actors designed to meet participants where they are. It's holistic and student-centred and is based on the simple principle that the actor will connect to their own body in order to make work through a process of play, expression, creativity and communication.

Morris rejects the idea of a single methodology to follow in favour of developing a flexible, inclusive system. Nevertheless, her practice is anchored in recognizable techniques and modalities (eg. neutral mask, the Swings, the four elements, etc.) from established movement teachers (Arnold, Lecoq, Snow etc.) and she illuminates the ways in which she has harnessed existing ideas in new and innovative ways.

The book puts forward exercises and approaches that have been developed by the author in the classroom and studios over many years to deliver this training. It includes numerous practical examples, interviews and case studies of how to apply particular movement techniques and practices to theatre-making - whether that's based in the classroom or rehearsal room - and offers concrete guidance on how to facilitate your own vision and movement course in response to the present moment.