It’s important for anyone considering undertaking the training to understand that Biomechanics is not a system of acting or a method to create a certain type of theatre. Instead, Biomechanics should be seen as a valuable part of an actor’s personal palette of technique, helping develop control of his or her body in an expressive and grounded way. As a part of his or her palette, Biomechanics is beneficial to an actor’s work regardless of the specific aesthetic of a given project. From Miller, to Beckett, to Lecoq clowning, anything and everything in an actor’s future can benefit in some way from this work. It has been said that training in Biomechanics is not unlike the honing of technique involved when a pianist practices musical scales or a ballet dancer puts in time at the ballet barre. One of Meyerhold’s favorite actors, Igor Ilyinsky, once said: “Technique arms the imagination.” This is ultimately what the training seeks to achieve- the “arming” of the actor’s imagination.
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