Helen Goalen and Abbi Greenland of theatre company RashDash lead this movement masterclass, incorporating techniques that can be used by students in the devising process.

Scott Graham, Artistic Director of Frantic Assembly (The Curious Incident of the Dog in the Night-Time, Othello) leads the Ignition company through techniques for devising physically dynamic work. Gain an unrivaled insight into the Frantic method and see how you too can devise your own movement-led work, quickly and simply. Find out more about Frantic Assembly: http://www.franticassembly.co.uk

Artistic Director Scott Graham leads this physical theatre masterclass, featuring a series of exercises and techniques used to create spectacular lifts performed in the production of The Curious Incident of the Dog in the Night-Time. Find out more about Frantic Assembly: http://www.franticassembly.co.uk

Vanessa Ewan leads this movement direction masterclass, guiding an actor playing Nora from A Doll's House using techniques to explore physicality and enhance character transformation. PLEASE NOTE: Not all movement exercises are suitable for everyone and this or any other movement exercise may result in injury. To reduce the risk of injury, never force or strain, use the exercises only as intended and demonstrated, and follow all instructions carefully.

This film explores the history of movement direction and how movement in theatre has evolved in recent years. Movement Director Ayse Tashkiran looks back at the Central European influences of the 20th century to the contemporary work of physical theatre companies including Complicite and DV8.

Movement Director Imogen Knight demonstrates a series of physical exercises which can be used during rehearsals to create an ensemble. PLEASE NOTE: Not all movement exercises are suitable for everyone and this or any other movement exercise may result in injury. To reduce the risk of injury, never force or strain, use the exercises only as intended and demonstrated, and follow all instructions carefully.

In the final part of this collection, Aline David takes a group of actors through pace exercises, and shows how changes in speed can be a tool to isolate important characters. Aline also demonstrates how movement direction can shift the audience's focus to suit the demands of the play. PLEASE NOTE: Not all movement exercises are suitable for everyone and this or any other movement exercise may result in injury. To reduce the risk of injury, never force or strain, use the exercises only as intended and demonstrated, and follow all instructions carefully.

In the second part of this collection, Aline David explores leading exercises with a group of actors. Using simple follow and repetition techniques Aline shapes individual actors into an ensemble, forming physical sequences for choral movement on stage. PLEASE NOTE: Not all movement exercises are suitable for everyone and this or any other movement exercise may result in injury. To reduce the risk of injury, never force or strain, use the exercises only as intended and demonstrated, and follow all instructions carefully.

In this film on creating chorus, movement director Aline David leads a group of actors through exercises used during rehearsals for the National Theatre's production of Antigone. Here she demonstrates how repetitive movement sequences can be created to accompany the Classical Greek text. PLEASE NOTE: Not all movement exercises are suitable for everyone and this or any other movement exercise may result in injury. To reduce the risk of injury, never force or strain, use the exercises only as intended and demonstrated, and follow all instructions carefully.

Ever wondered what a Movement Director does? In this short film we hear from Movement Directors Joseph Alford, Kate Flatt, Imogen Knight and Diane Alison-Mitchell explaining their role in a production, the key differences between movement direction and choreography and how movement develops its own theatrical language in performance.

This is a short physical warm-up that is suitable for actors to do before auditions, rehearsals or performances. It will work your body in different ways, getting your heart rate up, stretching, and connecting the breath. PLEASE NOTE: Not all warm-ups are suitable for everyone and this or any other warm-up may result in injury. To reduce the risk of injury, never force or strain, use the exercises only as intended and demonstrated, and follow all instructions carefully.

Following on from part one, which contains a physical warm-up for the actor, this video features a series of group exercises that develop impulses and physical creativity. These exercises can be used in rehearsals or before a performance. PLEASE NOTE: Not all warm-ups are suitable for everyone and this or any other warm-up may result in injury. To reduce the risk of injury, never force or strain, use the exercises only as intended and demonstrated, and follow all instructions carefully.

Maxine Doyle is the choreographer for Punchdrunk. For the 2009 staging of Every Good Boy Deserves Favour she worked with performers to create a dedicated movement language. In this film she talks about the concept behind the piece.

In July 2010 Bill T. Jones and his team came to London to hold open dance auditions for the NT's production of FELA! This film is about that audition process and features Maija Garcia, associate choreograper, explaining what the team were looking for.