I am a visiting lecturer at Rose Bruford School of Theatre and Performance on the European Theatre Arts
degree. I lead performance preparation for final year students, and take on guest directing/devising
modules. I also guest lecture on the Foundation Acting programme, as well as guest lectures for
students of Acting & World Theatre (BA Hons) at Regents University London.
I also lead workshops at festivals, colleges and art spaces.
My work is rooted in the vision and practice of seminal performance maker Jerzy Grotowski but from a queer perspective.
I am a previous member of Theatre ZAR (Resident company of the Grotowski Institute in Wroclaw, Poland).Since then, my aim has been to re-direct this work from Polish style laboratory theatre into a urban queered space with the aim of creating transformational work. In 2016 I started a collaboration with Mark James Hamilton. Together through vigorous one-on-one studio practice we developed a practice centred on partner interaction.
My work uses original, experimental live-art and workshop/performance event practices that invite urban mixed communities [ different ages, genders, sexualities and cultures] to engage with performance practice through art that explores Identity, physical performance and original poetry.
Partner Practice explores:
- Complicit interaction, using interconnecting exercises for moving together.
- It synthesizes techniques and processes from diverse contexts, including Jerzy Grotowski’s laboratory theatre processes, Southern Indian hereditary movement forms and Japanese and Chinese marital arts.
- The practice’s sequencing interlinks principles from Gabrielle Roth’s five rhythms and Laban’s effort-actions.
- The practice can be used for groups of performers or theatre ensembles/solo performers
- The duration can vary from thirty to ninety minutes.
- It can be done in silence or to the accompaniment of live or recorded music.
- It progresses through varying degrees of contact, from fingertips to full-body, from skin-to-skin intimacy to exchanges that stretch across great distances.
- A close rapport is sustained regardless of any changes in proximity or speed, especially when introducing careful challenges exploring erratic rhythms.
- This practice has been used to lead performers into deep poetic space enabling them to begin mapping the connections between body and voice.
- The emphasis is on a sustainable process for sustainable performance practice.
'I recently attended my first session of 'High: Mass Movement'. Dan and Mark have done something rare - they've created an original, accomplished and meaningful body of work, without succumbing to the egoic lights of their own brilliance. This is truly refreshing, and allows participants to follow their lead whilst remaining firmly rooted in their own potency. The work itself is a discipline that calls to primordial embodiment, to the loosening of constraint and to the unearthing of lost freedoms. I left the session invigorated and with my creative fires burning bright. Dan and Mark carry themselves with real kindness and connect authentically, whilst delivering this exhilarating and challenging practice to others. I intend to get in the room with them as often as possible'. Naomi Lewis. The Sacred Trust
'I had the most amazing weekend! From beginning to end I felt safe to explore the tools we were offered.' Natalie Scott
'There is an immense level of care and responsibility that comes with the work. I felt guided and nurtured to explore the limits of my body and imagination. What particularly resonated was the use of music that in the end led me to a place I felt i had never been before and opened me up emotionally. I left with a creaving to revisit this again' Antigoni Spanou