Movement Direction in contemporary theatre production is increasingly recognised and valued as a significant component of the expressive art of bodily communication in live performance. From scene changes, to character development, to dance sequences, movement direction underpins all that we see on stage and screen. This comprehensive book traces the creativity, skills, and knowledge essential to the movement director employed within the context of performance making. Key concepts are combined with insightful accounts from experienced practitioners and supported by creative tasks aimed to develop curiosity, skill, and deeper understanding of this valuable craft. Topics covered include: what is Movement Direction?; the expressive body; the actor’s process; movement in time and space; working with dance forms; context, research, and planning; Movement Direction for plays and opera and finally, working with directors.

Kate Flatt’s book is the ultimate toolkit for any aspiring movement director. She shares her adventures through the creation of the original production of a small show called Les Misérables after following a ‘hunch’. Movement Direction is an excellent handbook for artists to explore new perspectives and you can expect to feel enlightened by the world of movement direction. Flatt ends the book in a creative way, leaving the reader with her final ten thoughts, my favourite being number 10: “Whatever the process, the results will live in the hearts and minds of the audience.” -- Katie Smith, The One Dance UK Magazine * The One Dance UK Magazine *
It’s a wonderful book packed full of insightful information around the craft. What an honour to be sharing my practice .as a part of it It is so useful to have in Guildhall School of Music and Drama library. -- Diane Alison Mitchell, Head of Movement at Guildhall School of Music and Drama. * Head of Movement at Guildhall School of Music and Drama *

Kate Flatt has over forty years' experience as a movement director and theatre choreographer. She has worked nationally and internationally, in text-based theatre, film, dance, opera and musicals, notably on the original Les Miserables with the RSC. Trained in ballet and contemporary dance, she has also travelled widely, researching vernacular dance forms in their traditional context. She has worked collaboratively with directors on landmark productions at the National Theatre, the Young Vic, the Royal Opera, the Donmar and in the West End. She is a highly experienced workshop leader, teacher, and mentor to movement practitioners, in a range of performance contexts.