Introducing Movement Director Sara Green

We have officially entered the last week of our Kickstarter Campaign! As part of our daily countdown, we intend to bring you exciting updates from the team…

First up: We catch up with mover and shaker Sara Green, who is currently in rehearsals for Anita and Me at Birmingham Repertory Theatre.


Why movement?
Any opportunity to crack out a box step and I’m there. In reality there’s two metal rods holding my spine in place and they -apart from ending my ballet career at the delicate age of 14- remind me daily of how wonderfully complex and able the human body is as well as it’s ultimate fragility. Dealing with a restricted body forces me to analyse physical expression to a level far beyond technical training and led to a postgraduate return to Laban. Now I’m continually finding new avenues in which movement can be a strong, insightful and instructive influence, from working with fashion designers and film makers to neuroscientists and Bhangra dancers.

Do you have a piece of theatre that you’ve seen that has stayed with you more than any other?
Six Women Standing In Front of a White Wall from Australian company Motherboard. I saw it almost 8 years ago at the Fringe, it did incredible things to the audience.

Which choreographer inspires you the most or influences your practice?
Charmatz, for his approach to and consideration of performance. I was lucky enough to help him prepare for his Tate Modern take over earlier this year and am now an avid preacher of his gospel.

What do you see as being the difference between movement, dance, and theatre?
Movement is a basic human requirement, dance and theatre are forms of expression, speaking in a spectrum of storytelling and aesthetics. It’s impossible to compare the three.

What’s been your favourite place to visit in the world and why?
A place in the Alps. I can’t be specific – I love it because it’s completely removed from everything.

What country is number one on your list to go to that you haven’t been to before?
Japan, one of the few countries I still think of as mysterious. But also because I’d like to learn at least one of the martial arts. I’m pretty sure they’re one of the key originators of performed movement.

What does Empty Deck mean to you?
An opportunity to work with a blank page and an abstraction. A wild ideas forum.

Find out more about Sara, her work, and her nearly 10-year collaboration with Director Kay Michael here