| Hulton, Dorinda: Foursight Theatre’s Greek Productions |
| Hunt, Jerry: The CNDO transcripts |
| Hutch, Johnny: Acrobatic and vaudeville routines |
| Ikeda, Carlotta: The Walk and Butoh |
Kalinska, Zofia: Objects and emotions - a Kantor legacy
On Kantor
|
Karczag, Eva: The Constructive Rest Position / A preparation for the walk in Tai Chi
|
Kelman, Scott: Riffing
|
Khagan: African Stepping
|
Khilton, Nongmaithem: Thang Ta
|
Kraus, Lisa: The Practice of Meridians
|
Lamb,
Warren: Decision making and Movement
Pattern Analysis
|
Levinski,
Alexei: Meyerhold's Biomechanics:
A Workshop
|
Linklater,
Kristin: Teaching
voice
|
Masanosuke,
Gojo: Onnagata and the Fan
|
Mason,
Felicity: The training sessions
of Michael Chekhov
|
| Materic,
Mladen: Organic Sequences in the
theatre Organic Sequences |
|
|
Mayer,
Liza: The Voice - its roots and
potential
|
McDermott,
Phelim: Space Improvisation and
Creativity
|
Meckler
Nancy: Ways of physicalizing thoughts,
feelings and text
|
Merlin,
Joanna: Michael
Chekhov's Psychological Gesture
|
Nelson,
Lisa: The CNDO transcripts / Tuning
at L'animal a l'esquena
|
Newell,
Garet: A Lesson in the Feldenkrais
Method
|
O'Donnell
Fulkerson, Mary: Release: Language
of the axis
|
Oliver,
Clifford: Story telling in schools
|
| O'Reilly,
Kaite: In
Praise of Fallen Women... |
Pardo,
Enrique: Shadow Boxing
|
Pavis,
Patrice: Working with Brecht’s
Gestus
|
Paxton,
Steve: Touchdown Dance
|
Pearson,
Mike: Brith Gof: Working Practices
|
Ralli,
Teresa: A Work Demonstration
|
Rea,
Kenneth: Towards acting through
games
|
Rodenburg,
Patsy: Freeing the voice
|
Sathyanarayanam: Kalarippayattu
|
|
