ABSTRACT
This chapter offers a new set of exercises for coaching actors when working on productions that are non-traditionally staged in arenas, thrusts, allies, or site-specific productions. There is a paradox in performing in a non-traditionally staged piece and it has everything to do with movement. In order for each person in the audience of an NTS in-the-round production to get the best possible view of the piece, actors must constantly be in motion. They must continue to move throughout beats, transitions, etc. If they do not, audiences are stuck with only one viewpoint of the play. Similarly, when working on the thrust stage, actors must move in consideration of the audience on all three sides, sometimes working as if in the round (downstage), sometimes working as if on a proscenium.
