Movements #01

Life as Theatre Part 01

A group of people did comic and mime performances-spontaneous improvisation, mostly. There was much laughter and applause. After the excitement died down, the talk began...

"So," began G., "while they were doing this, where were the cameras?"

"On us," a lady answered.

"Most people go through their entire lives never realizing that they are on the stage of the world, never realizing that their life is theatre.

"Every moment is theatre, every situation a new scene, not to be confused with all past scenes, in which the character is brought forward from past scenes rattling off old pieces of dialogue and habitual bits of stage business from previous scenes.

"You've been in some, hit plays in your past, in which you liked the dialogue, you liked the acclamation, you like what you did. Especially the play that made you, the play that got your name up in lights… you know, the one you keep coming back to.

"But perhaps it's time to go on to new territory, new plays, to lose your imaginary star status and go back onto the streets and the back alley neighborhood theatres and playhouses and try entirely new material, and start all over again in the present moment, using only those elements which properly belong in - and spring from - the present moment. It's like a gambler who's reached the height and won, then takes the money, puts it in the bank, pays the IRS its share, and starts with a two dollar bet again.

"So where can we begin? How can we begin to use our sense of life as theatre? We have spontaneous lines; in organic life everything is spontaneous, all our lines are spontaneous, because our activities are spasmodic-reflexive, responding to our unique conditioned reactions to the fabric of organic life, words burst out of our lips. We don't even pay attention. We don't even know what line we said. We think of questions as our own, statements as our own, responses, reactions, as our own, we don't think of ourselves as delivering a line in a play. The question itself can be a line, delivered like any line. Why can't a question be a line, a piece of theatrical business? Have you ever seen a play in which the character asked a question?


Tabatha Jones, a thirty year veteran of The Academy of Ancient Dance, performs the Rhythmics and the Movements with transitions under the direction of E.J. Gold. In this simple-to-follow demonstration of The Movements, we are able to study and follow along as we view them from the front, back and side.

Visit this page to find how you can work with the movements.