On Taking a Note

I hate receiving a note.

I hate being told what to do.

I might just have a general issue with authority, but that is for therapy, not this blog, so I digress.

Actor, Bradley Whitford, talks about the three stages of taking a note:

1. “F**k you.”

2. “I’m Sh*t”

3. “Okay.”

And nothing has ever resonated more deeply.

Over time I’ve built systems and practices that help me move through the first two stages faster so I can land in “okay” and do the work.

I’d thought I’d share.

Do the Prep Work, So the Note Doesn’t Feel Like a Personal Failure

When I’ve done my homework/prepwork, when I know I’ve brought my full self to the room, a note doesn’t threaten my sense of competency.

Prep work for me includes:

• grounding myself before rehearsal

• warming up my body and voice

• eating properly

• understanding the material (I know that some people can, but I cannot wing it)

• knowing my choices and why I made them

• reviewing content from the previous rehearsal

• being prepared in general

Work Only With People You Trust

I am extremely intentional about who I collaborate with.

I avoid directors who use rehearsal to perform authority.

I avoid “leaders” who haven’t done the personal work required to direct other humans.

I choose collaborators who show:

• clarity

• care

• respect

• aligned values

• emotional maturity

This matters because taking a note requires vulnerability.
You cannot be open in a room where you don’t feel safe.

When I know a director is working from generosity I can hear the note for what it is: an invitation to help the piece grow.

Recognize the First Two Emotional Stages… and Don’t Act From Them

One thing that I have learned is that my first instinct is my worst instinct.

I need time to steep.

Land in “Okay,” Where Collaboration Can Actually Begin

Stage 3 “okay” is where the work actually happens.

“Okay” is an active choice to trust the process, trust the relationship, and trust myself.

Taking a note will probably never feel easy for me. But it has become possible because I’ve built systems to support me and honour my professionalism.

This is what I try to remember:

A note is about the work.

And the quicker I can navigate the emotional stages and land in okay, the more spacious, collaborative, and joyful the process becomes.

On Giving a Good Note

Many of us were raised in rehearsal rooms where sarcasm, passive-aggressive (and plain old aggressive) comments were the norm.

Where title power felt the need to “break us” in order to “make us.”

Where dressing down of the entire cast was a regular occurrence.

I’ve been in many rooms where we had to pause rehearsal to endure tantrums from the “leaders” present.

But none of that actually helped the work. And it definitely didn’t help the people making it.

Some folks have held on to bad habits from the generation before without considering whether these behaviours and methods actually yield positive results.

I propose that we could be more thoughtful about how we approach leadership. I’ll also offer that you can love and respect a mentor while recognizing that their way of working is harmful and that you can and should do better.

A generous, productive rehearsal room depends on clear and direct communication. Giving a note is not an opportunity to perform authority. Giving a note is a responsibility.

Here are some thoughts on giving notes with clarity and respect.

Know The Work Inside Out

Before you step into rehearsal, you need to know your piece intimately.

Notes fall apart when leaders are fuzzy on what they want. Ambiguity has its place in early discovery, but once you’re in the note-giving phase, the room depends on you for clarity.

A director who says, “Try something… anything!” and then immediately follows with “No, not like that,” is the worst.

Artists take risks when they know the boundaries of the room. They grow when those boundaries feel intentional.

Artists give you their best when they feel safe from arbitrary rejection. So be prepared to discuss the work at a high level.

And if you use experimentation, discovery, or devising as part of your process, knock off the notes. It’s not the time. Offer observations instead.

Match Expectations with Reality

Before you give a single note, check your expectations.

You cast these artists. You know what they bring. You understand their strengths, their limitations, and the places where they can grow.

Notes should live inside a performer’s actual toolkit and not an imaginary potential version of them.

Can you challenge people?

Of course.

That’s the work. Growth is part of the job for everyone.

Growth happens when expectations are realistic and rooted in the truth of who is in the room.

A note that asks someone to work from their strengths is motivating.

A note that asks someone to work beyond their abilities is shaming.

Remove the Performance of Authority

Stop performing power. You either have it or you don’t.

Sarcasm, passive aggression, and takedowns are performances of authority. They have no connection to real leadership. They create fear, diminish trust, and often paralyze the very artists you need to be brave.

People do not do their best work when they are humiliated.

Imagine?!

They do their best work when they are respected, prepared, and supported.

Be Clear. Be Direct. Say What You Mean.

A good note is specific. It names the thing you want and asks for it plainly.

• “Pick up the pace in that transition.”

• “Land that line with more weight.”

• “Slow down this section ”.

• “Shift your focus to actor B for that reveal.”

No sarcasm. No coded language.

If you find yourself giving the same note over and over again, that’s evidence that you are not communicating effectively.

That is on you, not the performer.

When the note doesn’t land, change the note. Your job is to be understood.

Communication Is the Job

More than anything else, directing is communication.

A good note communicates: I believe you can do this. I believe in the work we’re making together. Here is how we get there.

A bad note says: You’re failing. Prove yourself.

When we give good notes we create rooms where people feel capable, safe, and proud of the work they’re doing.

We also make better art.

Exit Strategies: How to Leave a Scene, a Process, or a Creative Partnership with Integrity

We often focus on beginnings in creative spaces, the excitement of a new project, the first day of rehearsals. Endings are just as important and having a clear exit strategy ensures a smooth transition for everyone involved.

Exits should be intentional and respectful. Knowing how to exit with integrity makes a difference.

Why Exit Strategies Matter

• They Provide Closure

• They Protect Well-Being

• They Maintain Professionalism

• They Prevent Burnout

Exiting a Scene

When working on emotionally charged material, actors need a way to separate themselves from their characters and return to a neutral state. Without a clear exit, intense emotions can linger, leading to emotional exhaustion or blurred boundaries.

In Practice:

• Tapping In and Tapping Out: This is a simple but effective ritual that signals when an actor is entering and leaving the world of the character. Before beginning the scene, each performer physically “taps in” (this can be a hand tap on their own chest, a clap, or touching an object). When the scene is over, they physically “tap out” to acknowledge that they are stepping away from the emotions of the performance and returning to themselves. This helps create a clear psychological boundary between character and self. More on that here.

• Shake It Off: After a heavy scene, encourage performers to literally shake off the tension. This physical reset signals to the body and brain that the work is done.

• Three Breaths Technique: Before leaving the scene, actors take three deep breaths together. The first breath releases the character’s emotions, the second brings awareness back to the body, and the third grounds them in the present moment.

Closing a Rehearsal

A strong rehearsal process includes clear bookends. Rushing out of a rehearsal without a transition can leave performers feeling disconnected and unsettled.

In Practice:

• Tapping In and Tapping Out

• Circle Up: a brief moment to close out the day and acknowledge one another. This might include a one-word summary of how everyone is feeling, a group stretch, or a collective breath. My personal way on ending a class or reheasal come from my dance background and is often a collective reach up and down followed by a thank you.

Stepping Away from a Project or Collaboration

Not every artistic relationship lasts forever. Sometimes you need to step away from a project for personal, professional, or creative reasons. How you exit determines the impression you leave behind.

In Practice:

• Pass the Torch: If you’re leaving mid-project, offer a resource for whoever is stepping in. Providing notes, documents, or a transition meeting ensures continuity and demonstrates professionalism.

• Write a Gracious Exit Letter: When leaving a long-term role or collaboration, a short, appreciative message can go a long way. This approach keeps doors open for future collaboration.

• Set a Clear Last Day and Get Out ASAP: Ambiguity around departure dates can lead to confusion or resentment. So can outstaying your decision to leave. Setting a firm and swift exit date and making it clear what you will and won’t be responsible for after that date helps maintain clarity and respect for all involved.

Navigating an Uncomfortable or Unsafe Situation

Unfortunately, not all exits happen on good terms. Sometimes you need to remove yourself from a situation quickly and decisively.

Here it may be important to look into your contract and/or consult with HR. Please note however, that HR is there to protect the organization and not the individual.

If you are looking for an ally you personal network is best.

In Practice:

• Professional Pivot: Direct the conversation toward a clear exit. This keeps things neutral and avoids unnecessary confrontation.

“I appreciate the opportunity, but I realize this project isn’t the right fit for me. I need to step away, and I wish you all the best moving forward.”

• Support Check-In: Before making a tough exit, talk to a trusted colleague or mentor. A second opinion can help clarify whether stepping away is the best choice and provide moral support in navigating the transition.

• No-Explanation Boundary: If a situation is unsafe or toxic, you do not owe anyone a detailed reason for your departure. A firm, simple statement like “I’m unable to continue with this project” is enough. If necessary, loop in an advocate to ensure a smoother transition.

Exits are an inevitable part of creative work, but they don’t have to be messy. Having an intentional exit strategy protects both your well-being and your professional relationships.

You’re Not the Underdog Anymore: Building Systems That Make Truth-to-Power Possible

Photo of Sally: a short queen, but no underdog.

Power is on my mind.

It’s one of the concepts that continues to surface in my training and practice in consent-based work and intimacy direction, and it’s one that I am acutely aware of in life.

A reminder here that power is intersectional. Our identities shape how we hold power and how it’s received, and we cannot ignore the imbalances that affect historically marginalized groups.

I’ve written about the obliviousness of power and the false underdog narrative that permeates many arts spaces.

If you work in the arts, if you have a voice, if you get booked, you are no longer the underdog. And that realization can feel uncomfortable. It can unsettle the identity and narrative you’ve built for yourself.

Many of us experience imposter syndrome, and that can make it hard to square our self-perception with the power we actually hold.

There can also be a kind of cognitive dissonance at play: we equate power with ease, and because our work is difficult and underfunded, it feels impossible that we have any power at all.

But those things are not mutually exclusive. You can hold power and still struggle. You can have authority and still feel uncertain. Power doesn’t erase effort or hardship; it shifts what responsibility looks like.

Types of Power

Systems of power were a major focus in my training with IDC (Intimacy Directors & Coordinators). Their foundational reference outlining the types of power is “The Bases of Social Power” by French and Raven. I offer their summary here, as it might be helpful.

• Legitimate power, which I often call “title power”, comes from a formal role or position within a hierarchy: producer, director, etc.

• Reward power is the ability to grant benefits, incentives, or recognition to others.

• Coercive power is its mirror, the ability to withhold, punish, or threaten negative consequences.

• Expert power comes from specialized skill, knowledge, or competence.

• Referent power comes from admiration, trust, and personal connection.

• Informational power comes from control or access to key information, narratives, or framing.

In my experience, referent and informational power are the most prevalent forms of power in our community. They’re also the ones people are least likely to recognize in themselves.

In small or interconnected arts environments, relationships, trust, and access to information can hold more influence than titles or budgets.

Practicing Power with Care

If you hold power and you believe in fostering better work environments, you have to create and maintain systems that allow for truth to power.

Normalize feedback, don’t dramatize it.

Make feedback routine and low-stakes.

Ask for it.

Model it.

A simple “How did that land?” or “What would make that easier next time?” goes a long way.

Build structures that separate safety from hierarchy.

Create channels where honesty doesn’t have to move through the chain of command. Use anonymous feedback forms or regular third-party facilitation.

A note on “company advocates.”

In theatre settings, the role of company advocate has become increasingly popular. A company advocate is a peer-designated point person for performers to bring concerns to, who then relays them to title power.

While the intention behind it is good, I am wary of the structure.

First off, the position is unpaid.

Next, this role often results in trauma dumping on one individual who may not have the skill set or resources to manage that kind of emotional labour. It can also unintentionally undermine the established systems that should already exist: the work of the stage manager or the necessity of having HR.

Truth-to-power should be systematized, not individualized. An anonymous feedback mechanism or a clear, transparent reporting structure requires far less emotional labour than assigning unpaid, untrained care work to a fellow cast member.

Be transparent around decision-making.

One of the quietest forms of coercive power is opacity. Make your reasoning visible. When people can see how and why a decision was made, even if they disagree, they become part of the process.

Collaborate and listen.

If you’re leading a project, invite meaningful collaboration early in the process.

Give credit to your collaborators publicly.

When someone tells you their experience, listen without defending.

Treat care as infrastructure.

Care is a system. Your policies, timelines, budgets, and boundaries reflect your values.

How we build systems of care is how we build trust.

Choosing Your Way Forward After a Bad Experience

So, you’ve had a bad experience. What next?

When something goes wrong in a project, the two obvious choices often presented are:

1. Tackle it head-on.

2. Ignore it and move on.

But I want to offer another frame: becoming an active participant in how you move forward.

The way you process a bad experience can deeply impact how you carry yourself into your future work. Whatever choice you make, it’s important that you make it consciously.

Time and Space

The first step is to give yourself time and space. A cooling-off period allows you to process not just what happened, but how it affected you. For me, that processing involves two different but equally important lenses:

• Facts:

  • What happened?

  • What went wrong?

  • What was my responsibility?

  • What was not my responsibility?

  • What would I do differently next time?

• Feelings:

  • How did this make me feel?

  • Why was I triggered?

  • What patterns does this bring up?

  • How can I protect myself from this in the future?

This combination helps me move through reflection in a grounded way. The goal is not to bypass emotions nor to drown in them.

No Response Is Still a Response

Once you’ve done your own inner work, you may choose not to address the situation directly. That is deeply valid. It can be a powerful choice to protect your energy and redirect your attention toward work that nourishes you.

No response is a response.

If You Choose to Address It

If you decide to raise the issue with a producer, director, or collaborator, know that it is trickier terrain. I recommend extra time and space before acting.

Even if you choose to address the situation through an in-person conversation, I strongly suggest writing down your talking points first. Time, space, and editing are your allies here.

Once you have a message that is carefully crafted and not impulsive (my first instinct is my worst instinct, thanks anxiety), I also recommend sending it in writing. The person you’re addressing may not be able to receive your message in the moment, but having it in writing gives them the opportunity to revisit it when they are ready.

Some questions to clarify before you begin:

• Do I want to invest in a relationship with this person or company? If so, why? Perhaps share that with them.

• Do I need to keep the door open for collaboration? Is there a practical conern here?

• Or is it okay if this person steps out of my orbit?

The answers will help you decide if the risk and work of speaking up is worth it.

A Note on the Obliviousness of Title Power

In the last five years, I cannot count how many times a person of title power has been oblivious to how bad an experience was for everyone else.

This is deeply frustrating to me, and I think it speaks to the inherited colonial and capitalist systems that the performing arts has adopted.

At the end of the day, we can only control ourselves. As much as I may want to shake someone and make them see what is happening in real time, that is not my responsibility, nor is it yours.

What is reasonable is for those in positions of power to put systems in place so that truth-to-power is part of everyday practice.

It is also on all of us to reflect on our behaviours in the room and seek tools to strengthen our emotional intelligence. Therefore, when feedback comes (whether through direct words, non-verbal cues, or even silence), we are ready and willing to receive it.

Moving Forward

Ultimately, there’s no single “right” way to respond. What matters most is that you take time to process and take ownership of your choice.

By actively deciding, you close the chapter on a difficult experience and lay the groundwork for future projects.

Saying Goodbye: Rituals and Reflections for the Post-Show Blues

Love’s Labour’s Lost, SBTS, 2025

Love’s Labour’s Lost (LLL) closed yesterday. My experience with the show was deeply joyful from start to finish. My heart is full and I am so very proud. We built something generous, alive, and silly in all the right ways.

But here I am on Monday and the heaviness of post-show blues has arrived right on cue.

We don’t always talk about or process endings in theatre. We rush head first into the next thing. But I think endings are important and how we say goodbye matters.

In a very meta turn of events, to help me say farewell to LLL, I’ve created a post-show reflection guide. It's designed to help artists process the end of a project and honour their experience.

Curtain Call: Post-Show Reflection

For the Joyful Shows

1. What surprised you?
What did you not expect to love as much as you did?

2. What made this process joyful?
Consider people, values, structure, setting, tone, or anything else that felt nourishing.

3. What did you learn about yourself as an artist?
How did this process affirm your skills, growth, or the way you show up in the room?

4. What do you want to carry forward?
Name something you want to bring into your next project.

5. Who are you grateful for?
List names. You don’t have to share it. Just notice what you notice.

6. What’s one memory you never want to forget?

For the Difficult Shows

1. What was hard?
Name it.

2. What do you wish you had known sooner?
What would have changed your choices or boundaries?

3. What was not your responsibility?
Name it and release it.

4. Where did you show up for yourself?

5. What do you need to leave behind?

6. What boundary do you want to carry forward?
Put this is your notes app!

Suggested Closure Rituals

Write a letter to the cast, the show, or yourself.

Create a closing playlist.

Archive the moment. Make a folder: photos, reviews, inside jokes, something you can revisit.

Say it out loud:

• “I loved this. I’m letting it go.”

• “This was hard. I’m leaving it behind.”

• “This changed me. I’m carrying it forward.”

What’s Next?

How will you show up for the next project?

How do you want to feel?

What do you have to offer?

What kind of room do you want to be in?

What kind of art do you want to make?

Who do you want to be in community with?

A Note from Me

Much of this closure work is personal, and I’ll be keeping most of my reflections private. But I will offer this, LLL affirmed something I continue to learn: To do my best work, I need to be in a room where values are aligned.

I’m also leaving this process with a renewed love for community theatre. I think it is the most important kind of theatre we have. It builds connection skill and empathy in a way that is deeply rewarding and unparalleled in “professional” work.

Much love, LLL. What a gift you were and are!

What Is an Intimacy Director and What Should You Expect in the Rehearsal Room?

As someone who primarily works in theatre, I often get questions like:

• "What exactly is an Intimacy Director?"

• "Do I need one for my show?"

• "What can actors and directors expect from that process?"

This blog is a guide to how Intimacy Direction works in live theatre, and what it can look like for actors, directors, stage managers, designers, and producers.

What Is an Intimacy Director?

An Intimacy Director (ID) helps stage scenes involving:

• Kissing or physical intimacy

• Simulated sex or undressing

• Power-based dynamics (like abuse or coercion)

• Emotional vulnerability

Much like a fight choreographer or dialect coach, the Intimacy Director creates a safe structure for storytelling. The ID works with the cast and creative team to stage intimacy clearly and repeatably, making sure that every person involved feels informed, empowered, and supported.

What Happens in Rehearsal?

Pre-Production Conversations
Before rehearsals begin, the Intimacy Director meets with the director and/or creative team to:

• Understand the themes, tone, and goals of the play

• Clarify what intimacy is in the script and where it lives in the story

• Discuss safety protocols and support for actors

Establishing Consent Culture
The ID may lead a consent-based warm-up or workshop with the cast to:

• Introduce shared language (like “closed rehearsal,” “consent to touch,” etc.)

• Teach basic tools for giving and withdrawing consent

• Help everyone learn how to say “yes,” “no,” or “not right now” without fear or shame

Choreographing Intimacy
Just like dance or stage combat, intimate scenes are blocked and rehearsed step by step. The choreography is:

• Specific

• Repeatable

• Based on agreed boundaries

• Designed to tell the story

Integration with the Show
The ID collaborates with the director and actors to make sure the scene fits tonally and serves the play. The ID may also work with designers, wardrobe, and stage management to ensure modesty garments, lighting, and transitions support the intimacy safely.

During the Run

Even after the show opens, the ID’s role doesn’t stop:

• They may attend previews or early performances

• Stage management is trained in how to maintain choreography and consent boundaries, but boundaries may change and the ID must be prepared to re-choreograph

• A “consent check-in” may happen before each show or after any performance where something felt “off”

Why Use an Intimacy Director?

An ID helps create:

• Safer rehearsal rooms

• More sustainable processes for actors

• Clearer storytelling for audiences

• Reduced risk for producers and organizations

Just like we wouldn’t ask actors to choreograph their own sword fight, we shouldn’t expect them to navigate intimacy without support.

Intimacy Direction isn’t about limiting artistic freedom. It’s about building trust, structure, and communication so that everyone in the room can do their best, most honest work.

Intimacy Coordination for TV & Film: What to Expect

Although my intimacy practice is mostly grounded in live theatre, I do occasional work in film and television and I’m often asked: What exactly does an Intimacy Coordinator do on a film set?

Whether you’re a producer, director, actor, or just curious about best practices, here’s an overview of how intimacy coordination works on screen.

The protocols shared here are based on guidance from SAG-AFTRA, ACTRA, and IDC (Intimacy Directors and Coordinators) training, which have set the industry standard for working with scenes involving nudity, simulated sex, or emotionally vulnerable content.

What Is an Intimacy Coordinator?

An Intimacy Coordinator (IC) is a trained professional who helps choreograph and support intimate scenes for film and TV. Their job is to make sure everyone involved feels safe, respected, and informed, while helping directors and producers achieve their creative goals.

ICs handle the logistics, advocate for performers, and ensure consent and communication are at the core of every step. Just like a stunt or fight choreographer, the IC works to plan, rehearse, and supervise scenes where actors are physically or emotionally vulnerable.

Before Filming: What Happens?

Intro Meetings
The IC connects with the director, producers, and ADs to:

• Review the script and flag any scenes requiring intimacy support

• Clarify how each scene will be shot

• Discuss safety and closed-set protocols

Performer Check-ins
Each actor involved in an intimate scene will meet privately with the IC to:

• Go over the scene in plain terms

• Talk through personal boundaries and preferences

• Learn about modesty garments, barriers, and privacy measures

• Ask questions or voice concerns

Nudity & Simulated Sex Riders
For scenes involving nudity or simulated sex, a written agreement (rider) outlines exactly what’s been agreed to. These must be:

• Finalized and approved by the actor (and/or their agent)

• Delivered at least 48 hours before shooting

• Signed before the scene is filmed

Wardrobe & Makeup Coordination
The IC consults with wardrobe and makeup teams to ensure all modesty wear, prosthetics, and coverings are available and fitted respectfully.

On Set: What to Expect

Private Check-Ins
The IC will check in with each actor privately before the scene, ideally in their dressing room or a quiet space, to confirm continued consent.

Choreographed Rehearsal
Intimate scenes are never improvised. The IC helps choreograph every physical beat, just like blocking a dance or fight. The goal is clarity, consistency, and comfort.

Closed Set Protocols
On the day of filming:

• Only essential personnel remain on set

• No visitors, cell phones, or extra monitors

• Actors are covered immediately after each take

• The IC stays close by to check in and adjust as needed

Ongoing Consent
Actors are encouraged to check in with each other between takes. The IC is available to confirm consent and manage any changes. If something shifts that wasn’t in the original rider, a new one must be created and the 48-hour window restarts.

After Filming: Privacy & Protection

Once the scene is shot:

• Footage is labeled “Restricted Access” and only available to essential editing staff

• All material is stored securely and used only for the intended production

Why It Matters

When an Intimacy Coordinator is on set, you can expect:

• Respectful working conditions

• Clear communication

• Creative solutions that support both the story and the people telling it

Actors can focus on their performance without second-guessing their safety. Directors and producers get reliable, repeatable results. And the work ultimately becomes stronger, safer, and more sustainable.

What Else Can an Intimacy Coordinator Support?

While much of the public conversation around intimacy coordination focuses on scenes involving nudity or simulated sex, an IC’s role can extend far beyond that. In both live performance and screen work, intimacy involves any moment of heightened vulnerability, personal exposure, or physical proximity.

Some additional areas where I provide support include:

• Kissing & Non-Sexual Touch
  Even a simple kiss or hug can bring up questions of consent, comfort, and repetition. I work with performers and directors to choreograph moments of touch with intention, ensuring clarity and consistency throughout takes or performances.

• Family Dynamics & Power Imbalance
  Scenes involving parent-child relationships, emotional manipulation, grief, or caretaking can require as much care as scenes of intimacy. I help teams navigate the physical and emotional boundaries that arise when portraying closeness, conflict, or trauma.

• Managing Physical Boundaries in Ensemble Work
  Close contact in group scenes can be overwhelming or uncomfortable. I support casts in creating clear agreements and shared language for safe touch, spacing, and body autonomy.

• Developing Consent-Based Culture
  I support creative teams in embedding consent into the process itself, not just the product. That includes warm-ups, boundary check-ins, and room agreements.

• Supporting Performer Wellbeing
  My presence signals that there is a dedicated, neutral advocate available to help navigate discomfort.

To Check-In or Not to Check-In?

Let’s talk about check-ins.

In modern rehearsal rooms, the “check-in” has become a common practice. At its best, a check-in helps build trust, transparency, and connection. But when misused, it can derail a rehearsal, consume valuable time, or place too much emotional labor on others.

What is a check-in?

A check-in is a structured moment, usually at the start of rehearsal, where participants are invited to share something about their current state of mind, body, or capacity. The goal is to contextualize the room. To name how folks are entering the space.

Why do we check-in?

As we talk about check-ins, it’s important to return to the “why” because this is often what gets lost in the sauce.

The purpose of a check-in isn’t just to share how you're feeling. It’s to build awareness and as a segue to focus on the work ahead.

We check in to:

• Build awareness. Knowing how your scene partner or crew member is arriving helps you work with them, not around them.

• Make room for context. Someone might be quieter than usual, or more distracted, or totally lit up and naming it can prevent misunderstandings.

• Ground the work. It’s a moment of collective pause before diving in. It helps shift into the work.

Ultimately, a check-in is a practice of accountability and care, it should serve the work and the people in the room.

When check-ins go off the rails

The success of a check-in depends entirely on the self-awareness and practice of the folks in the room.

I’ve been in rooms where a quick check-in was enough to shift the tone of the rehearsal for the better. I’ve also been in rooms where a single person (often in leadership) uses the check-in as a stage for trauma dumping/ oversharing/ grandstanding, thus derailing the rehearsal before it has even begun.

Check-in formats that might work for you

Here are a few check-in approaches that support clarity, connection, and care without overwhelming the room.

As you explore these, or design your own, remember that there’s no one-size-fits-all solution.

Context is everything. Consider who’s in the room, what kind of work lies ahead, and the “vibes” of that particular day. Be flexible. And always allow people the option to “pass” or opt out without explanation.

One Word

Prompt: “Share one word that describes how you’re arriving today.”

Best For:

• Large casts or tight timelines

• Setting a tone quickly

• Early in a process when vulnerability may be low

Why It Works: It’s brief, revealing, and non-invasive. One word can hold a lot of information without oversharing.

I use this one as a check-out practice as well.

Color Check-In

Prompt: “What colour are you today, and why (optional)?”

Best For:

• Creative/abstract groups

• When you want emotional awareness without direct disclosure

• Groups with mixed verbal confidence levels

Why It Works: Encourages metaphor and avoids direct language, making it accessible and expressive.

Weather Report

Prompt: “What’s your internal weather today?”

Best For:

• Groups familiar with each other

• Days with charged or heavy energy

Why It Works: Invites poetic imagery and gentle emotional framing without inviting problem-solving.

Capacity Rating

Prompt: “On a scale of 1 to 10, where is your energy or focus today?”

Best For:

• Physically or emotionally demanding rehearsals

• Tech week, long days, or overlapping commitments

• Transparent capacity planning

Why It Works: Offers clarity without explanation, allowing leaders to adjust expectations or redistribute tasks.

Process-Oriented

Prompt: “What’s one thing you’re hoping to accomplish or focus on today?”

Best For:

• Mid-to-late rehearsal periods

• Task-heavy or goal-specific rehearsals

• Groups already familiar with each other

Why It Works: Keeps check-ins directly tied to the work, which is especially helpful when momentum matters. It provides a point of focus.

Embodied Check-In

Prompt: “How is your body arriving today?”
(Optional: Pair with a gesture.)

Best For:

• Movement-based work

• Non-verbal or low-verbal rooms

• Early morning rehearsals or after long breaks

Why It Works: Taps into physical presence, increases self-awareness, and can shift the group into their bodies.

In or Out

Prompt: “Are you in or out today. What do you need to get more in?”

Best For:

• Intense or high-stakes rehearsals

• Honest conversations about engagement

• Work where emotional presence is essential

Why It Works: It invites agency and transparency, while giving people room to self-manage.

Private Check-In with a Visual Aid

Prompt: Provide cards or a chart with options like “low energy,” “excited,” “anxious,” “distracted,” etc., and allow participants to point or place a token.

Best For:

• Neurodivergent participants

• Trauma-informed spaces

• Early in a process or in rooms where verbal check-ins are overwhelming

Why It Works: Offers non-verbal access to the same insights without public speaking.

Yes/No Check

Prompt: “Yes or no: I feel ready to start rehearsal.” Or “Thumbs up, thumbs down”.

Best For:

• Days when you need to start fast

• Times when the group feels unsettled

Why It Works: Extremely fast. Flags readiness or hesitancy without demanding explanations.

A note on boundaries and self-awareness

It’s vital to take care of your mental health outside the room and arrive ready to engage.

If you’re in leadership, model brevity and respect.

If you’re a participant, ask yourself: Is what I’m about to share helpful to the process, or am I seeking something else?

The best check-ins are about tuning in.

Rehearsing with Care: Best Practices for Consent-Based Rehearsal Culture

Rehearsing with Care: Best Practices for Consent-Based Rehearsal Culture was originally presented as part of a professional development session with Shakespeare by the Sea in partnership with Untellable Movement Theatre.

In the spirit of building safer, braver spaces, I’m sharing the best practices I offered during a recent workshop called “Rehearsing with Care.” These tools support physical and emotional well-being and emphasize consent-based process.

This isn’t just for intimacy scenes or high-stakes choreography. This is for anyone who walks into a rehearsal room with another human being.

Physical Contact & Blocking

• Never move another actor’s body. Even with good intentions, physically adjusting someone undermines their autonomy. If someone forgets blocking, resist the urge to place them back into position.

• Ask before touching. Even if it’s been rehearsed before. Even if it’s written in the script. Consent is specific, situational, and revocable.

• Model alternatives. Directors and choreographers should use verbal prompts or neutral stand-ins instead of hands-on adjustments.

Emotional Safety & Character Work

• Tag in / tag out. Especially useful for emotionally charged or intimate scenes. You can use breath, gesture, or verbal cues to enter and exit character as a way of creating intentional containers around performance.

• Connect ahead of time. If you’re in a scene that involves intimacy, confrontation, or vulnerability, take a moment to check in with your scene partner. A simple “You good?” goes a long way.

• Build a closing ritual. After difficult scenes, do something physical or verbal to help yourself transition out. One actor I know used to pack their character’s costume into a suitcase at the end of every show, literally putting the role to bed.

• Leave the scene in the space. Avoid casual post-rehearsal debriefs of intense moments unless everyone involved has explicitly opted in.

Environmental Practices for Consent Culture

• “Pause” is for everyone. Normalize saying “pause” in the rehearsal room, no explanation required. Acknowledge with “Thank you for pausing.” A resource that I return to again and again is the article about the connection between urgency and white supremacy. Read more here.

• Make opt-outs normal. Anyone can pass on an exercise or choose a different way to participate.

• Hold space, don’t demand it. If something emotional comes up, respect people’s privacy. No one owes the group a disclosure.

• Build a room where autonomy isn’t a surprise. It should be expected that people have a say in what happens to their bodies and emotions.

For Directors, Stage Managers, and Facilitators

• Check in privately. After emotionally charged scenes or new blocking, follow up with actors individually.

• Clarify who’s in the room. This is especially important when rehearsing vulnerable material or early versions of scenes.

• Encourage creative alternatives. If an actor voices discomfort, collaborate on a new version of the moment. There’s always another way.

• Separate actor from character. Use action-based feedback. Instead of “Be more aggressive,” try “Can you make that gesture sharper?”

Consent is not the enemy of art. It’s the foundation of it.
The stronger the container, the more honest the work.

Responsibility and Care in the Rehearsal Room

In Rehearsal for Loves Labour’s Lost, SBTS, 2025

My practice takes me from the classroom to community theatre to large-scale professional productions. I work on projects with zero budgets and on shows with full production teams and funding behind them. Regardless of the scale, one thing remains true: how we show up in the rehearsal room matters.

This particular blog is written with emerging artists and community theatre members in mind, but it’s a good reminder for all of us.

Responsibility to the Room

Not everyone arrives to community and semi-professional theatre with formal arts training. In fact, it’s often what makes this work so rich, bringing together people from all backgrounds and interests, driven by curiosity, commitment, and a love of performance.

But no matter your experience, there’s one thing we all share: a responsibility to the room. To the work. And to each other.

Theatre is built on collaboration, and collaboration runs on care. That care looks like consistency, communication, and preparation. It also looks like knowing the difference between what belongs in the room and what doesn’t.

Between Rehearsals: Your Work Doesn’t Stop at the Door

The rehearsal process isn’t just what happens in the room, it’s what happens because of what you bring into the room. That means doing the work outside of rehearsal hours, especially when time is tight and ensembles are learning at different paces.

Here’s how to show care between rehearsals:

Rehearse on your own.
Go over lines, blocking, choreography, or vocal warmups. Watch rehearsal footage. Get things into your body. Being “off-book” is more than memorizing, it’s about making space for real connection in the room.

Strategies for Line Learning:

• Break your lines into thought units.

• Record cues and responses and run them during walks or chores.

• Speak your lines while doing a repetitive task: train your brain and body together.

Ask questions—early.
If you’re unclear about something, ask before the next rehearsal. Don’t wait until you’re back in the space. That puts time pressure on your director and slows down the room.

Take care of yourself outside of rehearsal.
If I’ve said it once, I’ve said it 100 times: Theatre is not therapy. It can be therapeutic, yes, but it’s not a substitute for professional support. Take responsibility for your mental, emotional, and physical well-being before you walk in the door. It’s one of the most generous things you can do for the collective.

If You Need to Miss a Rehearsal: What Happens Next

Sometimes life pulls you away. An emergency, a scheduling conflict, an unexpected illness. But how you handle that absence matters.

Let the team know early and clearly.
Don’t ghost. Don’t wait until an hour before. Tell the director and stage manager with as much notice as possible. Respect the fact that your absence will have ripple effects and added labour.

Own the catch-up process.
Ask for notes. Watch recordings. Schedule time with a peer to run material. Don’t expect the director or SM to redo the work for you.

Stay present in spirit, even when absent in body.
When you’re out, the work still moves forward. Keep yourself in the loop so you can reenter seamlessly. Staying in communication shows your care.

Navigating Transparency Without Derailing the Room

Rehearsals can be emotional. Vulnerability is part of the work. But it’s important to remember that the rehearsal room is a shared space, not a place to offload or process personal crises in real-time.

Be transparent—but don’t take the air out of the room.
Let the director or SM know if you're having a tough day. Then focus on what you can contribute. Maybe you listen more. Maybe you adjust your energy. Maybe you take a break if needed.

Being part of an ensemble means being accountable for your presence and for your impact. That includes how your energy supports (or disrupts) the room.

Care is a Practice

Responsibility isn’t about perfection, it’s about consistency. It’s about recognizing that when you join a show, you're not just performing. You're becoming part of a temporary community that needs your care to function.

Show up prepared. Communicate clearly. Contribute with generosity.

Tools for Expressing Discomfort in Rehearsal or Performance

Consent is a Practice and is Always Revocable

In any rehearsal or performance involving intimacy, physicality, or emotional vulnerability, it’s important to have clear and accessible ways to express discomfort. The following outlines several verbal, non-verbal, and post-scene tools that you can use to communicate your boundaries at any time. These options can be used alone or in combination, and you are always encouraged to propose your own.

Verbal Tools

These phrases are designed to pause or adjust the action in a neutral, respectful way.

• “Can we pause?”

• “Hold.”

• “I need a break.”

• “I’m at capacity.”

• “That’s a no for me.”

• “I need to step out.”

Verbal Stoplight System

The meaning of each colour must be discussed and agreed on in advance.

• Green – All good

• Yellow – Proceed with caution / I’m unsure

• Red – Stop immediately

Non-Verbal Tools

These are helpful when speaking isn’t possible or if you're in the middle of a scene.

• Hand Raise

• “Time Out” Signal

• Hand to Floor

• Silent Step Back

• Stop and Drop

Post-Rehearsal Tools

Boundaries can shift. You don’t have to speak up in the moment to be heard.

• Private Check-Ins – One-on-one conversations before or after rehearsal.

• Written Communication – Text or email if verbal communication feels too difficult.

• Scheduled Debriefs – Built-in time to reflect with the intimacy professional or director.

You Are Not Alone

Your safety, autonomy, and comfort are essential. You never need to explain or apologize for expressing a boundary. Consent is always revocable.

You can change your “yes” to a “no” at any time.

Let’s build rehearsal rooms that are creative, collaborative, and rooted in mutual care.

Creating Connection: The Special Handshake for Intimacy Scene Partners

Romeo and Juliet, Shakespeare by the Sea, 2023

Intimacy Direction and Choreography: Lynn Panting

When it comes to intimacy direction, fostering trust and connection between scene partners is essential. These relationships often require a level of vulnerability and collaboration that goes beyond standard rehearsals. While tapping in and tapping out are excellent boundary-setting practices, introducing a personalized ritual, like a special handshake, can add an extra layer of connection, support, and intention.

A special handshake is a small, private ritual shared exclusively between intimacy scene partners. Done before and after intimacy rehearsals and at the top and tail of performances, this gesture acts as a grounding mechanism, a signal of mutual respect, and a boundary between self and character.

Why Create a Special Handshake?

Builds Trust and Connection

A unique handshake is a shared moment that belongs solely to the scene partners. It fosters a sense of camaraderie and mutual care, reinforcing the trust necessary to explore vulnerable material.

Creates a Sense of Safety

The ritual serves as a physical reminder that both partners are entering a safe, consensual space. It anchors performers in the present moment and provides a tangible way to signal readiness and mutual support.

Sets Intention

Performing the handshake before a scene or rehearsal allows partners to set a shared intention for their work, whether it’s focusing on honesty, collaboration, or mutual care. Ending with the handshake helps partners transition out of the scene, returning to their personal selves.

Reinforces Closure

After an intimate scene or performance, the handshake provides a sense of closure, helping performers separate their character work from their own emotions and experiences.

How to Create a Special Handshake

Collaborate on the Gesture
The handshake should be co-created by both partners to ensure it feels meaningful and authentic. Discuss what elements you’d like to include — it can be as simple as a series of taps or as elaborate as a choreographed sequence.

Make It Unique
The handshake doesn’t have to look like a traditional handshake. It could involve fist bumps, finger snaps, a high five, or any other gestures that feel right to the partners. The key is that it’s unique.

Keep It Intentional
Even if the handshake is playful, it should be performed with intention. This isn’t just a fun ritual; it’s a tool for connection and grounding.

Practice Together
Before integrating the handshake into rehearsals and performances, practice it a few times together. This helps solidify the movement and ensures it becomes second nature.

Use It Consistently
The handshake should bookend every intimacy rehearsal and performance. Its consistency reinforces its purpose and helps create a reliable routine.

When to Use the Special Handshake

Before Intimacy Rehearsals
Perform the handshake to signal that both partners are ready to enter the rehearsal space and engage in the work.

After Intimacy Rehearsals
Use the handshake as a way to close the session, ensuring both partners feel supported as they transition out of the work.

Before Performances
The handshake becomes a grounding ritual before stepping on stage, reinforcing trust and connection in the moments leading up to the performance.

After Performances
End the show run with the handshake to acknowledge the shared effort and return to your personal selves.

Benefits for Performers and Productions

• Strengthened Bonds: The handshake deepens the connection between partners, making their onstage chemistry more authentic.

• Emotional Resilience: Rituals like this help performers process and separate their character work from their personal lives.

• Professionalism: A special handshake demonstrates the care and intentionality that intimacy direction brings to a production.

• Audience Impact: When performers feel connected and safe, it shows in their work, resulting in more compelling and authentic storytelling.

A special handshake is more than a gesture, it’s a commitment to trust, care, and collaboration. By creating a unique ritual, intimacy scene partners can foster a deeper bond, navigate the emotional demands of their work with greater ease, and bring authenticity to the relationships they portray on stage.

The Importance of Tapping In and Tapping Out: A Boundary Practice for Rehearsals and Performances

The rehearsal room and performance stage are places of vulnerability, exploration, and transformation. For performers, stepping into a character or an emotionally charged scene often requires opening themselves up in profound ways. This intensity makes it essential to establish practices that help protect their emotional and mental well-being. One of the most effective boundary-setting tools in creative spaces is the practice of "tapping in and tapping out."

This simple yet powerful ritual provides performers with a clear framework for entering and exiting the emotional and physical demands of rehearsal and performance.

What Does Tapping In and Tapping Out Mean?

• Tapping In: A performer actively signals they are ready to step into a scene, exercise, or performance. This might involve a verbal acknowledgment, a gesture, a unison clap, a special handshake, or simply saying “I’m in.”

• Tapping Out: A performer signals that they are stepping away, marking the end of their participation for that moment. This a bookend ritual action similar to their chosen “tap in”.

This practice ensures that everyone in the room is aware of when a performer is engaging with or stepping away from the work, fostering clarity, consent, and mutual respect.

Why Tapping In and Tapping Out Is Important

Sets Clear Boundaries

Performers often pour themselves into their work, blurring the lines between character and self. Tapping in and out provides a structured way to delineate where the performance begins and ends, protecting the performer’s sense of self.

Fosters Consent

The practice creates a culture of consent by giving performers agency over when and how they participate. It emphasizes that engagement with the material is a choice, not an obligation, ensuring performers feel safe and respected.

Encourages Emotional Regulation

Emotionally intense scenes can linger, affecting performers even after they leave the stage. Tapping out serves as a conscious ritual to help performers disengage from the emotional demands of the work, reducing the risk of emotional overwhelm or burnout.

Builds Trust and Collaboration

When everyone in the room follows the practice of tapping in and out, it fosters a collective sense of responsibility and respect. It builds trust between performers, directors, and crew, creating an environment where boundaries are honoured.

Enhances Focus and Intention

By requiring performers to actively signal their readiness, tapping in and out encourages mindfulness. It ensures that when performers step into a scene, they do so with full focus and intention, enriching the quality of their work.

How to Implement Tapping In and Tapping Out

Introduce the Practice Early

At the start of the rehearsal process, explain the concept of tapping in and out to the cast and crew. Emphasize its importance as a boundary-setting tool and a way to create a safe, supportive environment.

Create a Ritual

Decide on the specific gestures or verbal cues that will signal tapping in and out. This might include:

• Saying “I’m in” or “I’m out.”

• A physical gesture like placing a hand on the chest or raising a hand.

• A symbolic act, such as stepping into or out of a designated space.

Normalize the Practice

Encourage everyone to use the practice consistently, regardless of the intensity of the scene. Whether it’s a lighthearted exercise or a deeply emotional moment, tapping in and out should become a standard part of the creative process.

Respect the Signals

Ensure that all participants respect the tapping in and out process. If someone taps out, their decision should be honoured without question or pressure to re-engage.

Encourage Reflection

After particularly intense scenes or rehearsals, invite performers to reflect on how they’re feeling. This can be done individually or as a group check-in, providing an additional layer of emotional support.

The Broader Impact of Tapping In and Out

The practice of tapping in and tapping out extends beyond rehearsals and performances. It teaches performers valuable skills in setting and communicating boundaries, which can be applied to their personal lives and other professional settings. It also reinforces the importance of self-care, reminding artists to prioritize their well-being even as they pour themselves into their craft.

By creating a rehearsal room culture rooted in respect, consent, and mindfulness, tapping in and tapping out enhances not only the creative process but also the lives of the artists involved.

Tapping in and tapping out is more than a ritual — it’s a transformative practice that empowers performers to navigate the emotional and physical demands of their work with clarity and care. By fostering boundaries, consent, and trust, it creates a foundation for artistry that is both bold and sustainable.

Building Trust in the Rehearsal Room Through Movement

Trust is the foundation of any successful rehearsal process. When performers feel safe, supported, and connected, they take bigger risks, dive deeper into their work, and create more compelling performances.

While trust is often built through conversation and collaboration, movement and physical awareness play an equally vital role. How we inhabit space, respond to others, and engage with our own bodies all impact the rehearsal room dynamic.

Here’s how directors, choreographers, and performers can use movement to cultivate trust, improve ensemble connection, and create a rehearsal space where everyone can thrive.

Start with Grounding & Physical Awareness

Before performers can connect with each other, they need to connect with themselves. Building trust begins with an awareness of our own bodies—where we hold tension, how we breathe, and how we move through space.

In Practice:

• Body Check-In: Start rehearsals with a few moments of stillness or gentle movement, asking performers to notice any areas of tension, fatigue, or ease.

• Breath Work: Lead a simple breathing exercise to encourage relaxation and presence. Slow, deep breaths help regulate the nervous system and create a sense of calm.

• Non-Verbal Warm-Ups: Encourage exercises that focus on sensation—rolling through the spine, shifting weight, or shaking out the limbs. The goal is to get performers out of their heads and into their bodies.

Use Movement to Build Ensemble Connection

Trust in an ensemble is built through responsiveness—learning to move together, listen with the body, and develop an awareness of others.

In Practice:

• Mirroring Exercises: Pair up performers and have one lead a movement sequence while the other follows as closely as possible. This builds focus, non-verbal communication, and trust.

• Group Walks and Flocking: Have the entire ensemble walk through the space at the same pace, without speaking. Gradually introduce direction changes, slowdowns, and speed-ups. This encourages group awareness and sensitivity.

• Weight Sharing & Contact Work: When appropriate, introduce exercises that involve physical contact, such as leaning into a partner’s back or lightly pressing palms together. This helps performers build physical confidence in each other.

Establish Clear Physical Boundaries

Trust doesn’t mean constant physical contact—quite the opposite. A rehearsal room that prioritizes consent and clear boundaries allows performers to engage fully, knowing their comfort is respected.

In Practice:

• Check-In Before Contact: Always establish whether touch is necessary in a scene and check in before initiating it. Simple phrases like “Are you comfortable if I place a hand on your shoulder?” normalize consent-based movement.

• Exit Strategy: Encourage performers to speak up or step away if something feels off. Make it clear that their autonomy is valued.

Use Movement to Break Down Barriers

Sometimes, the best way to build trust is to remove the pressure of performance and engage in movement that feels playful and explorative.

In Practice:

• Guided Improvisation: Give performers movement prompts (e.g., “move through the space as if you are underwater” or “walk as if you’re being pulled by an invisible string”). This reduces self-consciousness and encourages creative play.

Create a Rehearsal Culture of Listening & Adaptation

Trust isn’t a one-time achievement—it’s an ongoing practice. A movement-aware rehearsal space is one where everyone listens, adapts, and supports each other physically and emotionally.

In Practice:

• Active Listening Through Movement: Encourage performers to notice how their scene partners breathe, shift weight, or hold tension—these subtle cues inform connection.

• Responsive Rehearsal Blocking: Be open to shifting movement choices based on how performers feel in the moment. Adaptation signals that their instincts are valued.

• Regular Physical Check-Ins: Mid-rehearsal, take a pause. Ask, “How does your body feel right now?” Checking in physically helps identify tension or stress before it impacts performance.

A rehearsal space where movement and physical awareness are prioritized is one where trust naturally flourishes. By tuning into our own bodies, connecting with our ensemble, establishing clear boundaries, and embracing movement as a tool for communication, we create a working environment that is both safe and artistically rich.

7 Tailored Warm-Ups for Meaningful Rehearsals

Tailored warm-ups offer a unique opportunity to prepare for the specific demands of a production. Here are seven intentional and impactful warm-ups designed to align with the needs of your project and ensemble:

1. Physical Precision Warm-Up

Best for: Dance-heavy or physically precise productions.

• Start with stretches and alignment exercises to build awareness and readiness.

• Introduce repetitive movements like walking in patterns (straight lines, circles, etc.) to sharpen spatial focus.

• Transition into movement phrases that echo the choreographic vocabulary of the production.

2. Emotional Grounding Warm-Up

Best for: Emotionally charged or intimate productions.

• Begin with deep breathing to center the ensemble.

• Engage in reflective exercises, such as a “memory walk,” where actors recall personal moments connected to the play’s themes.

• Explore the sensation of “carrying” the invisible emotional weight of your character and how it affects movement.

3. Connection and Relationship Building

Best for: Ensemble-driven or relationship-heavy productions.

• Pair actors for walking, eye contact, or mirroring exercises, focusing on subtle movements and eye contact.

• Move to trust-building activities like guiding each other through the space.

• Create small and large group sculptures representing the production’s central themes or relationships.

4. Text and Story Integration

Best for: Productions with complex scripts or heightened text.

• Warm up the voice with articulation exercises and resonance work.

• Practice speaking lines while walking through the space, changing direction, pace, or volume to match punctuation.

• Experiment with pairing actors, where one delivers a line while the other responds with movement, exploring non-verbal storytelling.

5. Environment and World-Building

Best for: Productions with immersive or thematic environments.

• Ask actors to embody the environment. Concentrate on flow, gesture and architecture.

6. Collaborative Creativity Warm-Up

Best for: Devised or collaborative projects.

• Start with a “Each One Teach One” exercise where participants build a sequence of movements or gestures together.

• Break into small groups to create 3 point of connection that build specific relationship vocabulary.

7. Character-Specific Exploration

Best for: Character-driven productions or solo performances.

• Begin by walking through the space as the character, experimenting with pace, posture, and physical energy.

• Introduce the physical relationships between characters.

• Explore the relationship between character and space.

Why Tailored Warm-Ups Work

Tailored warm-ups don’t just prepare the body, they immerse the ensemble in the heart of the project from the start. These exercises foster connection, creativity, and intention, ensuring that every moment of rehearsal is meaningful and aligned with your production’s unique needs.

Why Consent Culture Benefits Every Rehearsal Room

Pursuit rehearsal, 2020

The rehearsal room should be a place of exploration, collaboration, and trust. Yet, for too long, the performing arts have relied on outdated models of direction that prioritize hierarchy over dialogue, often leaving performers feeling unheard, unsafe, or uncertain about their boundaries.

Enter consent culture—a framework that prioritizes clear communication, mutual agreement, and respect for personal boundaries. While often discussed in the context of intimacy direction, consent culture is valuable for every aspect of the rehearsal process, from choreography to scene work to backstage dynamics.

Integrating consent-based practices doesn’t just prevent harm—it enhances artistry, deepens collaboration, and fosters a healthier, more sustainable creative environment.

How Consent Culture Strengthens the Creative Process

Consent Encourages More Confident Performers

When performers know their boundaries are respected, they take more risks. Instead of shutting down when they feel uncomfortable, they engage fully, leading to more authentic performances.

It Builds a Rehearsal Room Based on Trust, Not Power

Historically, some directors and choreographers have used authority to demand compliance. Consent culture shifts the focus from power to partnership, ensuring that artists feel like collaborators rather than instruments.

It Fosters Better Communication and Artistic Clarity

Establishing consent culture means normalizing check-ins, clarifying expectations, and making room for dialogue. This prevents misunderstandings, allowing everyone to work more efficiently and creatively.

It Reduces Harm and Prevents Long-Term Injury

From a physical standpoint, forcing bodies into movement without consent leads to injury. From an emotional standpoint, ignoring boundaries can cause burnout and trauma. In both cases, consent culture prioritizes longevity over short-term results.

It Creates a More Inclusive, Accessible Rehearsal Room

Not every performer moves or experiences space the same way. A consent-based space makes room for individual bodies, voices, and lived experiences rather than imposing a rigid, one-size-fits-all approach.

Practical Ways to Build a Consent-Based Rehearsal Room

Consent culture isn’t just about what we don’t do—it’s about actively creating a better process. Here’s how to implement it in everyday rehearsals:

• Normalize asking for consent: “Can I adjust your arm placement?” should be as natural as saying, “Let’s take that from the top.”

• Use boundary check-ins: A quick “How’s everyone feeling about this?” before and after intense work ensures performers aren’t carrying discomfort into the next scene.

• Offer opt-in/opt-out language: Instead of “We’re all doing this exercise,” try “Would you like to participate, modify, or observe?”

• Give performers agency: Allow them to suggest solutions when something feels off rather than dictating what they should endure.

• Lead by example: Directors set the tone. If they model consent culture, the whole room follows.

Establishing Boundaries in Creative Spaces

Artistic environments thrive on creativity, collaboration, and expression, but none of these can truly flourish without a foundation of safety and respect.

Establishing boundaries in creative spaces is not only a professional necessity, it’s a profound act of care. Clear, well-communicated boundaries create an environment where artists feel empowered to take creative risks, knowing their limits and voices are respected.

Why Boundaries Matter in Creative Work

They Foster Safety and Trust

• Boundaries ensure that everyone in a creative space feels physically, emotionally, and psychologically safe. Trust is the cornerstone of collaboration, and when participants know their limits will be honored, they are more willing to engage fully in the creative process.

They Encourage Authentic Expression

• When individuals feel safe, they can focus on their craft without the fear of being judged, pushed too far, or misunderstood. Boundaries give artists the freedom to explore their potential within a framework that respects their individuality.

They Prevent Burnout

• Creative spaces often involve long hours, high emotional stakes, and intense collaboration. Boundaries help manage workload, expectations, and emotional energy, reducing the risk of burnout for everyone involved.

They Strengthen Collaboration

• A team that understands and respects each other’s boundaries is better equipped to work together effectively. Open communication about needs and limits allows for smoother interactions and fewer conflicts.

Types of Boundaries in Creative Spaces

Physical Boundaries

• Clear guidelines around physical contact are essential, especially in performance arts where touch is often required. Always seek consent before choreographing intimate or physical scenes, and check in regularly to ensure comfort.

• Consider personal space in rehearsal or studio environments. Some individuals may need more physical space to feel comfortable and productive.

Emotional Boundaries

• Respect the emotional well-being of participants. If a scene or project involves intense themes, create an opt-in culture where individuals can choose their level of involvement.

• Encourage performers to share how they’re feeling and be willing to adapt if someone is struggling with the material.

Time Boundaries

• Respect participants’ time by setting clear schedules and sticking to them. Avoid excessive overtime or last-minute changes unless absolutely necessary.

• Build breaks into rehearsals or creative sessions to allow for rest and recharge.

Professional Boundaries

• Define roles and responsibilities upfront to avoid confusion or overstepping. For example, make sure everyone knows who is responsible for feedback, decision-making, or managing conflicts.

• Ensure that feedback is constructive and focused on the work, not personal attributes.

How to Establish Boundaries in Creative Spaces

Start with Open Communication

• Begin every project with a clear conversation about expectations, goals, and boundaries. Invite everyone to share their needs and make it clear that their input is valued.

Create a Code of Conduct

• Develop a written code of conduct or ground rules that outline the standards of behaviour and line of communication for the group. Share this document at the start of the project, and revisit it as needed.

Use Consent-Based Practices

• Always prioritize consent, especially in projects involving physical touch, vulnerability, or sensitive themes. Encourage participants to voice their boundaries and remind them they can adjust their consent at any time.

Create a System for Feedback

• Establish a system and line of communication to identify and address any issues before they escalate.

Model Boundary-Setting

• As a leader or facilitator, set an example by respecting your own boundaries. Whether it’s maintaining a work-life balance or addressing concerns with kindness and clarity, your actions set the tone for the group.

Navigating Boundary Challenges

Even with clear boundaries, challenges may arise. Here’s how to handle them:

Address Issues Early

• If someone oversteps a boundary, address it calmly and promptly to prevent misunderstandings or resentment.

Use Neutral Language

• Frame boundary discussions as collaborative problem-solving rather than criticism.

Be Flexible

• Boundaries may shift as a project evolves. Stay open to revisiting and adapting them based on the group’s needs.

The Benefits of a Boundary-Driven Creative Space

Deeper Collaboration

• Teams with clear boundaries are more harmonious and productive, allowing for stronger and more meaningful creative output.

• Increased Innovation: When individuals feel safe, they’re more willing to take risks and share bold ideas.

Stronger Relationships

• Respecting boundaries builds trust, leading to lasting professional and personal connections.

Better Outcomes

• A project is most successful when participants are fully engaged, comfortable, and able to focus on their craft without distractions or discomfort.

Boundaries are not barriers to creativity — they’re its foundation. By establishing clear, respectful boundaries, creative spaces become places where artists can thrive, explore, and connect.

When boundaries are treated as tools for collaboration, they allow everyone to contribute their best work, turning shared ideas into extraordinary art. In a world that often romanticizes the chaos of creativity, a well-boundaried process proves that the most innovative art comes from spaces where respect is prioritized above all else.