We recommend that with any Physical Actor Training work you take time to reflect during and after the session. This can be through writing and recording your processes and noteworthy moments using pen and paper or a camera. We also advise you to take time to cool down your body and mind to conclude your session. Exploring Stillness will allow you to regain a sense of calm and centre after your exertion and exploration. Then watch You and write some responses to some of the questions our trainees pose.


This is a meditative film about the importance of finding stability and quietude. It shows the trainees in the act of doing nothing as a ket dynamic within the broad spectrum of performer training.

Further reading:
Allain, Paul. 1998. ‘Suzuki Training’, The Drama Review, 42, (1): 66–89. Films available: [accessed 6 June 2017].

Lampe, Eelke. 2001. ‘SITI – a Site of Stillness and Surprise: Ann [sic] Bogart’s Viewpoints Training meets Tadashi Suzuki’s Method of Actor Training’, in Ian Watson (ed.), Performer Training (London & New York: Routledge) pp. 171–190.

Zarrilli, Phillip B. 2003. ‘Chapter 15: “On the edge of a breath looking”: Cultivating the Actor’s bodymind through Asian martial/meditation arts’, in (ed.) Acting (Re)Considered: a Theoretical and Practical Guide, sec. ed. (London: Routledge) pp. 181–199.


This film asks the viewer who they are in relation to the A-Z. This film asks the viewer who they are in the context of their training in relation to the A-Z the team present provocations from their experiences, sometimes getting it wrong.

Further reading:
Bogart, Anne. 2007. And Then, You Act: Making Arts in an Unpredictable World (London: Routledge).

Tufnell, Miranda & Chris Crickmay. 1993. Body Space Image: notes towards improvisation and performance (London: Dance Books).

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