Philosophy & Methods

My work is influenced by a range of methods. Regarding my work with actors I am very influenced by my coach in Los Angeles, Tom Todoroff. I don't believe in a formular that works for all, but instead a non-formular that employs diverse, but yet definite sources of knowledge and allows each actor to grow in that moment and receives what he/she needs.

My years in dance and movement form the solid foundation of my approach, because it is only via our physical experiencing and an understanding of embodiment that emotions, attitude and human interaction can be understood. How can I embody a part when the body is absent? Grotowski, Meisner and Laban methods are amongst those that inform my work.

Very important is also the connection of:
body – breath – emotion – voice

In my philosophy I am not really separating private and professional philosophies, since those are one and unite in me as a person as I step from one present moment to the next present moment. As a teacher I therefore am not considering myself an authority in its conservative sense (e.g. someone that knows and speaks the absolute truth), but rather as a guide. I deliver a definite (!) knowledge and techniques, which the student can use to build their own embodied knowledge. Thus authenticity is achieved.
That is the aim!
 

The Sea

"The space is dark … the bubble of time opens and for just one moment everything is possible. The taste of my life and my being burns on my tongue. For a moment I am everything, everybody, everywhere, but yet all alone – in public. Fully focussed. The air is thick and tense with your looking at me and your presentness.

Imploding, Exploding. My kinesphere extends in large firery waves and fills the time/space, which then ceases to exist. I am so thirsty and am getting thirstier the more I am the experience. I rise and I burn and I rise. Freedom is at hand. Finally. Overcoming this continous fight with the never-ending dual boundaries of our existence that seperates us from our being."

All texts © Katrin Kelly. Please contact me
if you wish to use parts of the texts.

     
Having said that, it is important to mention that this teaching attitude requires a much higher input and responsibility from the student him/herself concerning his/her own progress and learning then conventional methods. The learning process is a collaborative process. The knowledge has to be transformed into personal experience otherwise the work remains always on the surface.

The performer thus feels self-conscious – on a physical level no communication takes place anymore, which is a hinderance to the work, since 80% of our communication takes place via body language. The body seems frozen. Body and voice are reflecting nothing, but the actors uncomfortableness.

The aim is to move from 'thinking' into 'experiencing': "Experiencing instead of having an Experience". Otherwise the acting remains stilted and seems unauthentic. The words don't fill the space, don't reach us.

 

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