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MOVEMENT 3
The actor's body must be capable of extraordinary simplicity, strength, and presence.
Exceptional actors are not physically expressive because they do more—they are compelling because they do less. Years of training allow them to strip away unconscious habits, unnecessary tension, and physical clutter until every movement serves the life of the character.
Movement III introduces students to the Suzuki Method of Actor Training, one of the most rigorous and influential systems of physical actor training in the world. Developed by renowned Japanese theatre director Tadashi Suzuki and the Suzuki Company of Toga, this work challenges actors to cultivate discipline, precision, power, and unwavering presence.
At Maggie Flanigan Studio, Suzuki training represents the culmination of the actor's physical development, building upon the freedom and release established in Movement I and Movement II.
Presence Begins in the Body
Tadashi Suzuki believed that acting begins and ends with the feet.
The Suzuki Method develops the actor's relationship to breath, balance, center of gravity, and physical energy through a demanding series of exercises rooted in discipline and precision.
Drawing from traditional Japanese theatre, Greek tragedy, ballet, and martial arts, students develop a stronger physical connection to the ground while cultivating greater awareness, concentration, endurance, and control.
The work teaches actors to generate presence from within rather than attempting to manufacture it externally.
Strength in Service of Truth
Physical strength alone does not create compelling acting.
The purpose of Suzuki training is to develop an actor whose physical instrument is capable of supporting truthful human behavior under the most demanding artistic circumstances.
Through stomping exercises, statues, controlled movement, breath work, and rigorous physical discipline, students strengthen not only the body but also the imagination, focus, will, and vocal power required of serious professional actors.
The goal is never physical display. The goal is complete physical availability.
Mastering the Instrument
Movement III challenges actors to integrate everything they have developed throughout their physical training.
Students learn to:
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Generate powerful stage presence
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Develop greater physical simplicity
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Strengthen breath and vocal support
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Increase endurance and concentration
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Eliminate unnecessary physical habits
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Build precision without sacrificing spontaneity
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Create a disciplined instrument capable of sustained artistic work
As physical awareness deepens, actors become increasingly capable of creating vivid behavior with clarity, confidence, and ease.
Preparing for Professional Work
Today's professional actor works in an increasingly demanding artistic environment.
Whether performing classical theatre, contemporary drama, film, or television, actors must possess a body capable of responding to the full range of creative demands placed upon it.
Movement III prepares students to meet those demands through disciplined physical training that strengthens both the actor's technique and artistic confidence.
Together, Movement I, Movement II, and Movement III create a progressive physical curriculum that develops freedom, emotional availability, strength, simplicity, and presence—essential qualities for transformational acting.
Movement III also prepares students for the final stage of physical training, Movement IV: Viewpoints, where this disciplined physical instrument is placed into dynamic ensemble composition, spatial awareness, and spontaneous theatrical creation.
The Discipline of the Artist
Mastering the actor's instrument requires patience, consistency, and discipline.
The body is not separate from the craft—it is the craft. Every rehearsal, every audition, and every performance depends upon an actor's ability to think, feel, imagine, and express through a body that is free, responsive, and fully alive.
Movement III is a twelve-week course consisting of twenty-four classes.
Prerequisites: Successful completion of Movement I and Movement II.
STUDENT TESTIMONIALS
“Movement III not only created a safe space for me to fail, it helped me discover and learn that within failure itself lies the compelling, interesting behavior and choices just waiting to be discovered. Tina’s energy, passion, and mastery of her craft made me an instant Suzuki fan. Run(and stomp!), don’t walk to her class!”
Danielle Barrett
“Movement did wonders for easing my terrible, terrible nerves before auditions and performances. Many issues that came up while doing the work in the core acting class were solved in this class. The skills honed in this class apply to all areas of the acting craft.”
Kasey Huzinga
“Movement 3 was the most important class for my instrument as an actor. This class gave me the tools with which to diagnose the tension in my body and in a way that cracked open my work as an actor.”
Chris Nunez
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MOVEMENT 3
The actor's body must be capable of extraordinary simplicity, strength, and presence.
ACTING STUDIO NEW YORK NY
The Maggie Flanigan Studio is the leading acting studio in New York City where professional actors train for long careers. The acting programs at the drama school are based on the Meisner Technique and the work of Sanford Meisner. The two year acting program includes acting classes, movement classes, voice and speech for actors, commercial acting classes, on camera classes, cold reading, monologue, playwriting, script analysis and the Meisner Summer Intensive.
Call to Schedule an Interview
AKIKO AIZAWA
As an actor, Akiko Aizawa has devoted her career to some of the most rigorous and influential physical theatre training in the world. She is internationally recognized for her work with the legendary Suzuki Company of Toga and the acclaimed SITI Company, where she performed, taught, and helped preserve two of the most important actor training methodologies of the last fifty years.
