Movement at the Core: a practical exploration of Laban Movement Analysis within the context of a directing practice / Imogen Osborn (2025)

This practice as research project investigates how Laban Movement Analysis (LMA) can be applied to a directing process, positioning movement as the foundational element rather than a secondary process. Drawing from somatic and anatomical theories surrounding body language, LMA principles and my own creative practice, this study explores the creation, analysis and communication of character through heightened physical awareness, spatial relationships and movement dynamics. The research is framed around three core strands: awareness, analysis, and application, and focuses specifically on seated movements, shape and form. Through studio based practical sessions, actor interviews and observations, and collaborative exercises, the project examines how subtle physical shifts in posture, orientation, and effort qualities can create an embodied sense of character. This research is informed by a range of contextual influences such as Polly Bennett and Steven Hoggett who highlight the power of subtle physical choices. Annie Loui’s The Physical Actor (2009) and Nancy King’s Theatre Movement – The Actor and His Space (1971) provide a pedagogical grounding, offering somatic and anatomical approaches to developing performer awareness. The Netflix series Adolescence (2025) also served as a contextual reference, offering examples of how shape, rhythm and spatial tension can convey complex internal states without relying heavily on dialogue. These influences, alongside reflections on method acting and embodied character transformation, provide contextual grounding that goes beyond the use of Laban Movement Analysis. Key insights include the importance of kinaesthetic awareness in performers, the benefits of a shared vocabulary between director and actor, and the potential of spatial tension and microspheres (head, hands, contact points) as tools for nonverbal storytelling. The project proposes a model of directing that treats movement as the entry point to performance-making an approach that feels particularly effective for me as someone with an existing practice in movement and choreography. The outcome is a repertoire of adaptable tools and reflections that can inform my own directing across stage and screen contexts.