The 5th IPPT was hosted by the KASK/School of Arts Ghent in Belgium on the 12th and 13th of January 2018. The central topic of the meeting was MOVEMENT. We asked ourselves how our current training methods and pedagogical views are dealing with the many ways in which movement is used in performance, how contemporary movement practices are shaped and how movement is activated in different signification patterns.



The 2018 IPPT in Ghent focuses on the place and nature of physical work in
performer training and theatre education. There are numerous training
programs in Europe that use movement and physicality as a central mode of
communication. Movement has been an important signifier in theatre and
performance practices of the last decades.

However, in their pedagogical approach to movement, (theatre) training
programs seem to be drawing mainly on a specific tradition of physical theatre in
Europe in the last century instead of looking at contemporary performance
practices where boundaries between theatre, dance, circus, performance art,
visual arts, video art, … have increasingly been crossed, blurred and redrawn.
In a traditional view, the body is seen as of vital importance for the actor’s
presence and expressivity on stage. In that idea, courses are offered that are
geared towards the development of the actor’s physical performance. Movement
workshops, dance, choreography, etc. are seen as important additions to acting

Should we not approach movement from a broader perspective that
encompasses the many ways in which a moving body is brought to meaning in a
performative context? Should we not shape new methodologies and curricula
that incorporate a reflective view on movement as signifier in its many
contemporary frames and presentation forms?

We asked ourselves:
How does movement stand to dance or choreography?
How does movement stand to action?
How does movement stand to image?
How does movement stand to circus?
How does movement stand to (spoken) language?