STACON26: Movement as Universal Language

Hello!

I’m Lynn Panting director, choreographer, movement director and intimacy director.

This page is a practical companion to my STACON26 session and is designed as a resource that you can revisit.

If you’re a director, actor, dramaturg, stage manager, educator, or choreographer working with text-heavy material: these tools are meant to help you get into the story through the body.

STACON26 / Shakespeare Theatre Association (January 2026, St. John’s, NL)

Session: AB03: “Did I Not Dance With You In Brabant Once?” Movement as Universal Language through the Lens of Love’s Labour’s Lost
When: Friday, January 9, 2026 • 2:00–3:15pm NST
Where: Salon A/B, Sheraton Hotel Newfoundland
With: Justin Genna • Moderator: Lily Narbonne

Learn more

The Toolkit

Proximity.

Focus.

Mirroring.

Three physical tools for clearer story, deeper connection, and more accessible Shakespeare.

Proximity: distance tells the truth

What it does: clarifies relationship, status, attraction/avoidance, tension, safety, power.

A quick rehearsal prompt:

  • What is the minimum distance these two characters can tolerate right now?

  • What is the maximum distance they will allow before the scene breaks?
    Block the scene once using only those two limits.

Try these “proximity choices” (pick one):

  • Orbit: one character circles; the other holds ground.

  • Magnet / Repel: move closer on agreement, move away on resistance.

  • Threshold: one character never crosses an invisible line (until they do).

Best for: scenes with persuasion, flirtation, rivalry, confession, apology, denial.

Focus: where attention goes, the audience follows

What it does: demonstrates attention and intention.

Scales of focus

Wide / Horizon focus
Attention reaches outward or beyond—toward distance, sky, ideas, or imagined futures.

  • Reads as: longing, idealism, abstraction, avoidance, self-mythologizing

  • Often used when characters speak philosophically, romantically, or defensively

Relational / Peripheral focus
Attention is oriented toward another person without direct eye contact.

  • Reads as: restraint, testing, politeness, power negotiation

  • Often lives in the body angled near someone, but eyes held just off

Specific / Task-based focus
Attention narrows onto a small, concrete detail (lint on a sleeve, a ring, the floor).

  • Reads as: anxiety, vulnerability, repression, deflection, care

  • Gives the audience a precise emotional anchor

Direct and indirect focus

  • Direct focus: eyes clearly land on the object or person

  • Indirect focus: attention is present, but eyes never fully arrive

Matching and diverging focus

When focus matches:
Two characters share the same scale or quality of attention.

When focus diverges:
One character holds wide focus while the other becomes highly specific—or one is direct while the other avoids.

Mirrors and Echos: shared vocab creates meaning

What it does: builds ensemble connection fast; reveals alignment, manipulation, intimacy, rivalry.

A quick rehearsal prompt:
Give a pair a short exchange. One actor leads with tempo/gesture; the other mirrors:

  • first exactly

  • then with a one-beat delay

  • then as a transformation (change the movement by 10%, 25%, 50%)

Options:

  • Mirror: an exact copy.

  • Echo: repeat the physical idea.

  • Counter-mirror: match energy but invert shape.

Best for: courtship, clowning, power dynamics, friendship, manipulation.

Try it in 5 minutes (no special skills required)

Use this as a warm-up, a reset mid-rehearsal, or a table-work alternative.

  1. Proximity: Partners choose “near” and “far” distances for the moment. Walk between them silently.

  2. Focus: Speak one line while changing focus at the midpoint. Have the scene partner note the focus change and adjust to the new point of focus.

  3. Mirroring: Repeat the line again, this time mirroring your partner.

  4. Reflect : What became clearer about the relationship or objective?

Accessibility & Consent

This work is grounded in consent-based practice.

Participation is always invitational.
At no point is anyone required to move, touch, speak, or demonstrate. Observing is a valid and active form of participation.

Participants are welcome to:

  • opt out of any exercise, partially or fully, at any time

  • participate seated or using chairs, mobility aids, or other supports

  • adapt movements to suit their body, energy level, or access needs

  • engage at the level of focus, imagination, or micro-movement rather than full-bodied action

Exercises can be translated into:

  • stillness rather than motion

  • gesture rather than locomotion

  • internal or imagined movement rather than external expression

There is no “correct” way to perform these tools.
The goal is clarity, connection, and care — not virtuosity or physical ability.

Consent and accessibility are not add-ons to the work; they are what allow the work to function.

Work with me

If you’d like support integrating movement-based storytelling into your process, I offer:

  • rehearsal-room movement direction for Shakespeare and contemporary text

  • actor-friendly movement tools for clarity, connection, and ensemble

  • intimacy-informed staging support

  • workshops for companies, universities, and training programs

Contact: lynnpantingdance@gmail.com

Instagram: instagram.com/lynnpanting

LinkedIn: linkedin.com/in/lynn-panting