Glynn M - Movement Director

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Glynn M

00:00:02 I'm Glynn M, and I'm Head of Movement at Shakespeare's Globe on the South Bank in London. The Head of Movement is employed because the actors only have one instrument, and that's their body. So if their body's not working properly, then they're not able to do their job. So I'm here really like a piano tuner. I'm tuning the instrument so that it's ready to play. So it's a very physical job I've got, I'm jumping around, galloping, archetypes, elements - really finding out how to speak the text. Shakespeare wrote in a verse form called iambic pentameter, pretty easy then you hear it, it's the same as the gallop. (BEATS RHYTHM ON DRUM) if you can get your actors galloping, the heartbeat is good, the legs are moving, they're coming into the rhythm of the verse.

00:00:57 When I was at school I wanted to do nothing. I grew up in Australia, and all I wanted to do was lay on the beach and surf. I've never had any ambition, and I've never planned my career. Who would have thought that a kid from the bush, would end up on the South Bank, teaching movement. No, I had no plans whatsoever. These things have simply opened up to me. I've done degrees in English Literature and Psychology, and then I trained as an Alexander teacher, which I've been doing for the last 38 years. The Alexander technique is a technique of psycho-physical awareness. So in other words, the way that your head, neck, back relationship works affects your efficiency as a person. So all theatre companies, and all drama schools, have Alexander teachers to help their actors find a balance in their bodies.

00:01:46 I came to London in 1968, and decided that I'd like to be involved in some way in a creative life. I started to work in drama schools. I worked at the London Academy of Music and Dramatic Art, the Guildhall School, and the Central School of Speech and Drama. And I did that for about 27 years. When Mark Rylance took over the Globe he brought me with him, because of course having an in-house Alexander teacher, as well as someone who studied Shakespeare and movement, you get three for one. So that was eleven years ago, and I've been here ever since.

00:02:25 I was taught by a man called Walter Carrington. He died a couple of years ago aged 92, and he was really my mentor, because he really exemplified a way of life - of how to get through the stressful business of living without becoming stressed yourself. Stress never stops, but your response to it can.

00:02:45 I am inspired when I think about Shakespeare, because here was a man who had an infinite knowledge of humanity. So what we are doing in the theatre is not something light weight. We have fifteen hundred people come in, in one state, and go out in another. That in my book is healing. You only have to see a group of adolescent boy with Macbeth - Is this a dagger that I see before me? - to see the relevance of what Shakespeare was saying. It's not old fashioned, it's fresh as new paint.

00:03:21 If you're deciding on a career as a movement teacher or as an Alexander teacher, don't think you're going to get rich. But then you have to ask yourself - what is rich? Do I want the money? Or do I want to be able to wake up every morning looking forward to where I'm going? If, in Shakespeare's term, the play's the thing, if you keep playing, then you will love your work, and your work will inspire you. But if you don't have that joy in what you're doing - change jobs. So the lesson I have learned, is to thine own self be true. And that again is Shakespeare, wouldn't you know.

00:03:58 ENDS

 

Glynn M

Glynn M I'm Glynn M, and I'm Head of Movement at Shakespeare's Globe on the South Bank in London. The Head of Movement is employed because the actors only have one instrument, and that's their body. So if their body's not working properly, then they're not able to do their job. So I'm here really like a piano tuner. I'm tuning the instrument so that it's ready to play. So it's a very physical job I've got, I'm jumping around, galloping, archetypes, elements - really finding out how to speak the text. Shakespeare wrote in a verse form called iambic pentameter, pretty easy then you hear it, it's the same as the gallop. (BEATS RHYTHM ON DRUM) if you can get your actors galloping, the heartbeat is good, the legs are moving, they're coming into the rhythm of the verse. When I was at school I wanted to do nothing. I grew up in Australia, and all I wanted to do was lay on the beach and surf. I've never had any ambition, and I've never planned my career. Who would have thought that a kid from the bush, would end up on the South Bank, teaching movement. No, I had no plans whatsoever. These things have simply opened up to me. I've done degrees in English Literature and Psychology, and then I trained as an Alexander teacher, which I've been doing for the last 38 years. The Alexander technique is a technique of psycho-physical awareness. So in other words, the way that your head, neck, back relationship works affects your efficiency as a person. So all theatre companies, and all drama schools, have Alexander teachers to help their actors find a balance in their bodies. I came to London in 1968, and decided that I'd like to be involved in some way in a creative life. I started to work in drama schools. I worked at the London Academy of Music and Dramatic Art, the Guildhall School, and the Central School of Speech and Drama. And I did that for about 27 years. When Mark Rylance took over the Globe he brought me with him, because of course having an in-house Alexander teacher, as well as someone who studied Shakespeare and movement, you get three for one. So that was eleven years ago, and I've been here ever since. I was taught by a man called Walter Carrington. He died a couple of years ago aged 92, and he was really my mentor, because he really exemplified a way of life - of how to get through the stressful business of living without becoming stressed yourself. Stress never stops, but your response to it can. I am inspired when I think about Shakespeare, because here was a man who had an infinite knowledge of humanity. So what we are doing in the theatre is not something light weight. We have fifteen hundred people come in, in one state, and go out in another. That in my book is healing. You only have to see a group of adolescent boy with Macbeth - Is this a dagger that I see before me? - to see the relevance of what Shakespeare was saying. It's not old fashioned, it's fresh as new paint. If you're deciding on a career as a movement teacher or as an Alexander teacher, don't think you're going to get rich. But then you have to ask yourself - what is rich? Do I want the money? Or do I want to be able to wake up every morning looking forward to where I'm going? If, in Shakespeare's term, the play's the thing, if you keep playing, then you will love your work, and your work will inspire you. But if you don't have that joy in what you're doing - change jobs. So the lesson I have learned, is to thine own self be true. And that again is Shakespeare, wouldn't you know. ENDS  

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About Glynn M

Age at filming: Over 60, Employer's name: The Globe Theatre (Shakespeare's Globe)
Glynn teaches movement to actors at The Globe Theatre, London. "I grew up in Australia, and all I wanted to do was lay on the beach and surf. I've never had any ambition, and I've never planned my career. Who would have thought that a kid from the bush, would end up on the South Bank, teaching movement."

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Average Salary
£17,680
Average Weekly Hours
30
Past Unemployment
YearUnemployed
20115%
20124%
Predicted Employment
Future Employment Chart
Top 10 Industries
For This Job
IndustryJobs
Sport & recreation10,965
Arts & entertainment 9,878
Education5,854
Services to buildings5,319
Film &  music 5,041
Employment activities4,778
Other personal service 4,349
Other professional4,203
Publishing activities3,704
Head offices, etc3,014
Employment Status
Employment Status Chart
Description

Sports coaches, instructors and officials work with amateur and professional sportsmen and women to enhance performance, encourage greater participation in sport, supervise recreational activities such as canoeing and mountaineering, and organise and officiate at sporting events according to established rules.

Qualifications

There are no formal academic requirements although individuals must have experience in their sport and the relevant coaching and refereeing qualifications. Applicants to coaching courses must normally be over 18 years old and hold a first-aid certificate. Some courses encompass coaching awards within broader programmes of study. NVQs/SVQs in coaching are available in the context of certain sports. Background checks including a CRB check are required for those working with children.

Tasks
  • Coaches teams or individuals by demonstrating techniques and directing training and exercise sessions
  • Controls team selection and discipline and recruits ancillary staff such as coaches or physiotherapists
  • Monitors and analyses technique and performance, and determines how future improvements can be made
  • Deals with administrative aspects such as arranging matches, contests or appearances for athlete or team, and organising required transport and accommodation
  • Provides information and develops facilities to encourage greater participation in sport, and to enhance the standards of participants
  • Understands health and safety aspects of various activities and ensures any statutory requirements are met
  • Inspects and maintains specialised clothing and equipment
  • Manages the playing areas and competitors, starts race, competition or match and controls its progress according to established rules.
Employment by Region
Regional Employment Chart
Gender Balance
M 57% 43% F
Skills Chart
Where to go next
The Globe Theatre (Shakespeare\'s Globe)Information and Statistics relating to the Creative IndustriesSector Skills Council for the Creative and Cultural Industries

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