Movement and Voice 

Movement and voice work is part of my daily practice. I recently did an intensive movement course in Berlin with Stefan Crainic and Josephine Haas on The Human Animal. Deeply insightful and has inspired me to keep a movement diary.

If you look at an animal like a cat or a monkey, they move beautifully, elegantly, gracefully- but they don't spend time trying to, or looking at themselves thinking, "was it graceful enough" because the reason why it's graceful is that this was the most effective and economical way to move. And they learn how to do it through play. These are the two strands of what I'm looking at with the physical training that I'm doing, because the work demands physical economy as well as intimate connection between the body and the imagination. So the practice is playfully learning how to move effectively.

Acting 

I recently read both of Mel Churcher's books on acting for screen and am going to spend some time working on the points she talks about. One of her main things is also play- playing with words and improvising situations from the character's past so you can see the things that are going on.

The other thing is, I need to be really trying to get the thing I want in the scene, and trying ingenious ways of getting it that may surprise me and my scene partner. This requires text being known by heart so that I can let go of everything else and just play the scene.