Movement 4

Movement 4, The Suzuki Method continues the Maggie Flanigan Studio’s commitment of providing our students with the broadest conservatory training in the United States.  Physical simplicity is the mark of a seasoned, well-trained actor. This is incredibly difficult to achieve, and takes a great deal of training and work on your physical instrument.  Great actors are able to strip away all of the unconscious, pedestrian, and habitual physical patterns that clutter the clarity of a character. Anything that is an impediment to your ability as an actor to be simple, but also free and experientially alive must be eliminated from your work.  The Suzuki Method is considered one of the most vigorous and powerful training methods for actors, challenging and instilling in them strength, physical simplicity and presence, three essential qualities to any serious actor. Developed by renowned Japanese theatre director Tadashi Suzuki and The Suzuki Company of Toga, The Suzuki Method of Actor Training looks at the actor’s use of breath, the center of gravity and energy to develop power, presence and precision both physically and vocally. Suzuki believes that acting begins and ends with the feet.  His work incorporates stomping, squatting, and statue work to help the actor connect to the earth.  It has been an integral part of the training at NYC’s renowned SITI CO, and is often combined with Ann Bogart’s Viewpoint technique, which our students receive in Movement 3.  This rigorous physical discipline borrows elements of traditional Japanese theatre (Noh and Kabuki), Greek theatre, ballet and martial arts. The physical vocabulary of these basic training forms hones an actor’s physical awareness, imagination, vocal power, will, and strength. Actors trained in The Suzuki Method develop rich and resonant voices and cultivate powerful physical and vocal energy.

This 12 week, 24-class semester is the culmination of the physical training at the Maggie Flanigan Studio.  Building on the freedom and release that is developed with the Williamson Technique in Movement 1 and Movement 2, and the dynamic physical behavior created with The Viewpoints in Movement 3, this class challenges the student to work for physical release, ease, strength and simplicity.  When combined with a resonant voice and a rock solid acting technique, our students are fully capable of producing vivid, fully realized human behavior.  Any artist must master their instrument, and for the actor this is the totality of you.  Physical training is at the core of the Maggie Flanigan Studio conservatory, and we believe it should be a priority for any serious actor.

Movement 1, 2 & 3 are all pre-requisites for this class. Movement 4 is a requirement for Business 1.

Tina Mitchell( Movement 4: )

Tina is a New York based actor, director, teaching artist and theatre maker. Tina is co-Artistic Director of Australian based Chopt Logic Productions, a company dedicated to producing inter-disciplinary, innovative and physically based live performances that reflects socially relevant issues and concerns. She specializes in making work that fuses text, movement and music and has performed in some of the leading Arts festivals in the world. She has worked for many international companies including La Fura dels Baus, the English National Opera, SITI Company, the Adelaide Festival of Arts, Collegiate Chorale at Carnegie Hall, The Brooklyn Philharmonic and The Metropolitan Opera. Tina played Lady Macbeth for Southwest Shakespeare, was one of the main cast members in Punchdrunk’s Sleep No More and appeared in The Event of a Thread with SITI Company. As a teaching artist, Tina has taught actors and student actors of all ages in various institutions including universities, acting conservatories, casting agencies, theatre companies, dance companies, youth theatre companies and high schools in the US, Australia, New Zealand and Colombia, including Atlantic Theater for NYU, Brown University, SITI Company, The University of New Hampshire, The Adelaide College of the Arts, Flinders University, Unitec New Zealand and La Pontificia Universidad Javeriana in Colombia. Tina is a recipient of the Helpmann Academy emerging Director and Mentorship Awards, recipient of a State Theatre Company of South Australia Assistant Director Fellowship and the 2015 Leimay Fellowship. For more information please visit, and


  • Prior to starting any of the movement work I was unaware of how my body was holding me back. Now I’m aware of where I’m holding tension and what tools I can use to provide ease. I attribute my contiuned growth in the acting class to the movements class!

    Ashley Laisure