This thesis, published in 2006, is the first known published work on the official field of intimacy direction as we now know it.

INTIMATE ENCOUNTERS; STAGING INTIMACY AND SENSUALITY

By Tonia Sina Campanella, MFA

Virginia Commonwealth University

Introduction

Many actors and directors come across the stressful or embarrassing situation of having to tackle a love scene that may involve heightened intimate contact. In my own experiences, there are many times that a director, often young and inexperienced, does not know how to handle the scene with care. In fact, I have been in situations in which the director let the actors control the scene, other situations in which the director blocked a very intimate situation in front of the entire cast, and even more situations in which directors completely avoided any kind of open communication about a scene's sexual content. All of these situations led to actors' discomfort and misunderstandings. I believe that this happens more often than it should, especially in university theatre.

There are many emotions that are involved in intimacy, even if it is staged. Sexual tension between two characters can easily become blurred with sexual tension between actors. This can be a problem when the actors are unable to recognize the difference between the two worlds. This in turn can lead to an awkward, unhealthy, or potentially dangerous situation for the actors, the rest of the ensemble, and even the entire show.

As a movement coach, it is my opinion that sex and love scenes on stage should be meticulously choreographed using attention to the safety of the actors. Ideally, each move should be specifically blocked, directed and rehearsed by a choreographer or director with prior training in such situations. This would ensure that there is an outside control of the scene, so that the actors have the ability to feel safer and more comfortable with each other. I also believe that there is a certain aesthetic that many people do not understand about staging intimacy. The most interesting part of sexual scenes is not the act itself, but rather the energy-physical, emotional, spiritual, mental - that exists between the actors. In most cases this often translates as a "less is more" guideline for choreography. It is important to realize that there is a difference between sexuality and sensuality, and that sensuality is the more interesting of the two.

This thesis is a study of the experiences I have had as a movement coach in situations of both sex and violence. The purpose of a Fight Director is to teach the techniques needed for fight sequences in a safe manner and to protect the actors from getting hurt. Likewise, if a movement coach is dealing with an intimate scene, the same rules of safety and protection should apply. Scenes with sex and intimate contact may not seem as physically dangerous as fight scenes, and yet, there are physical as well as emotional hazards.

I hope to challenge other directors to think about these issues when choreographing scenes containing intimacy. Most of all, I want the actors with whom I work in the future to have more freedom and confidence expressing sexual tension onstage. Finally, I want all actors to feel safe working with me on shows of which I am a part.

Tonia as Suzanne

Picasso at the Lapin Agile Virginia Commonwealth University, 2004