2. 1 Musicality of Movement approach (Virág Dezsö), development and context
Fascinated from early age on by non-verbal expression, dance, and music, Virág Dezsö (Hungary,1970) started her artistic journey in her hometown Debrecen, playing the violin and taking classical ballet classes. Curious and eager to step out of the traditional paths, she explored multiple movement methods, of which—besides the Hungarian Art of Movement by Sarah Berzcik—Orkesztika, developed by Valéria Dienes was of major importance. Dienes was influenced by Isadora(Stokes 2025)and Raymond Duncan with whom she took classes in Paris in the first decade of the twentieth century. After returning to Hungary, she founded her movement school Orkesztika to spread the novel approach of dance that she learned of the Duncan siblings and to develop her own philosophy of the art of movement. In her analysis of human movement, she distinguished the interrelationship between space, time, strength and meaning.(Brittanica 2025) These focus points can also be found in other physical theatre approaches, using slightly different terminology. Equally important to Dezsö as Dienes, Etienne Decroux (Mime Corporel) would speak of space, articulation, poids/contrepoids, and dynamo-rythme; another example was Laban, who would speak about body, effort, shape, and space. The Musicality of Movement approach (MoM) works with the awareness of the individual performing body in relation to space, others in space, and the relationship with the audience, and time, using concepts like the ones mentioned before: directions (space), weight (effort), tonicity (force), energy (as general state of being, giving information about the atmosphere, which comes from the level of energy in space) andtransformation. In the next paragraph of this chapter, I will dive deeper into the building blocks of Musicality of Movement. The main influences on Dezsö’s work—we cannot go into all of them—are Dutch Mime (Ide van Heiningen),(Langen, de 2022) Mime Corporel (Etienne Decroux),(Amos, de 2022) Valeria Dienes (Orkestika) and Sára Berczik (Esthetic body & movement method, Hungarian Art of Movement), and dance improvisation (Julyen Hamilton).(Hamilton 2024)
When being asked to help musicians to move on stage, Dezsö took exercises that were most efficient and accessible for musicians without a background in movement, dance or physical theatre, using the experience and knowledge she had built up by working with so many different methods. For performers without a 'movers' background the goal of the work had to be clear and effective on all levels. With this in mind, Dezsö developed the Musicality of Movement approach with a very practical focus, using exercises that are easy to recall after the training and that can be deepened through repetition.
Although there are influences and overlaps in exercises with other physical theatre and physical awareness approaches, Musicality of Movement has certain clear goals, layers and specific signature exercises that make the approach distinctively different from other ways of working.
Many physical awareness methods that are being used in music education strive for increased wellbeing for the participant, resolving habitual tensions and blockages by increasing physical awareness. Although they are valuable, most of them do not take the step beyond physical wellbeing, to the performative body, making them a less practical tool for performers in taking the step from the studio to the stage. Every MoM exercise is geared towards the stage, each exercise communicates to an audience—using phrasing and direction, with a clear beginning and ending—thus, Musicality of Movement helps students to get to terms with the basic principles of performative skills and stage presence.
The approach is playful, non-judgmental, non-esthetic and based on immediate experiences. It is equally accessible for performers with and without movement experience because it starts with breathing into simple daily movements on stage, creating physical awareness and starting on a basic level. The connection to breathing is crucial and because that is the first and the last thing human bodies do in life, easy to find for most people. MoM does not use fixed poses and is non - esthetic; this allows each participant to move within her possibilities. Teachers working with the principles of the Musicality of Movement approach can adapt to the target group at hand, adjusting exercises to the general level of the participants while using the essential frame which is provided by the approach. This frame is created by building blocks as described below.
The exercises allow the awakening of sensitivity which can lead to vulnerability and sensuality of performance.(Dezsö 2024)
All stage performers need to find ways to be ready to act on stage, be it playing an instrument, singing or by any other means of expression. The preparations are like those of a visual artist that prepares her canvas, cleaning her palette and brushes, mixing the colors. There is no expression yet—when the canvas is ready—in our case when the body is toned, and the internal energy can flow freely, we are ready for action. The Musicality of Movement approach calls the prepared body without specific expression, the neutral body. In mime corporel this posture is called zéro dynamique. (Haas, de 2022) In zéro, as well as in neutral, the body is toned and ready to move, the gaze is horizontal and alert, yet still without expression. The horizontal gaze helps the performer to stay present in the here-and-now. Experimenting with changing the gaze will immediately give the performer internal feedback (taking the gaze down will feel ’cut off’ of the audience, looking up will create a sense of being in a larger space/dreaming/projecting yourself to another place). The neutral position can be built up by using gravity and its counter movement, by landing on the feet--straight under the hip joints--and lengthening the spine against gravity, using weight and counterweight. All vertebrae of the spine are gently stacked, the pelvis, chest, and head are well aligned and balanced, allowing the breath to flow freely. If the feet were allowed to stand wider or narrower than the hip joints, there would already be a statement in the way of standing, this is to be avoided when searching for a neutral position. Neutrality in the body can also be achieved by using the image of pairs of eyes in the pelvis, the chest, and the head, all of them with a parallel horizontal gaze, like shining headlights. For students it is helpful to experience and understand neutrality from the first lessons as it provides them with a safe position to which they can go back, even outside the MoM studio.(Dezsö 2023) Therefore the exploration and understanding of the neutral position is important for beginners. From the neutral position, performers can start to play by changing the neutral body and experience the effects of, for instance, lifting or dropping the chest, tilting the pelvis, and changing the position of the head on top of the spine. Each new exercise will start from the neutral body. It is the alignment to which the performer can always come back. Toned and ready for action though still without a story. Apart from neutrality, the exercises work with concepts/keywords like balance, articulation, transformation, switch, letting go, tonicity/tonality, phrasing, listening, direction. Many of the exercises have figurative names that that trigger physical imagination and make them easier to remember as they describe an action or image from which they are an abstraction or exaggeration (the shiver, the elephant, the Eiffel tower, the jellyfish and so on). The last paragraph of this chapter will go more into detail describing selected - and signature exercises and their connected keywords.
Having explored neutrality and thus becoming able to re-align the body—over time this will become second nature for most students—the group can start to observe and deepen the connection of movement and breath. In the MoM-approach, all movement is connected to breathing. In the neutral body the breath can flow easily, giving it energy and a sense of lightness. Changing the energy of breath will result in different energy of movement, creating a variety in dynamics and muscle tone (tonicity).
Where Decroux (mime corporel) was consciously working the breath in the exercise antennes d’escargot (De Haas 2022)--initiating the withdrawal of the antenna with a startle reflex as inhalation--in his other études he was taking less care of breathing patterns; Ide van Heiningen,(Encyclopedie 2025) Dutch mime pioneer and founder of the Moving Academy of Performing Arts (MAPA) (Langen, de 2022), deepened the connection between movement and breath (especially in his work with singers of the Opera studio (1992-2011). This created the fundament of the clarity of breathing that now is characteristic for the MoM approach. Specifying multiple ways of breathing that connect to the energy of the movement, using the earlier mentioned concepts of articulation, poids/contrepoids, and dynamo-rythme, became an integrated element of the MoM trainings.
A MoM-training will always start with physical warm up exercises that are guided by clear in- and exhalation. In this warm-up all joints of the body will get attention by the conscious use of diverse ways of breathing connected to the movement. It is beyond the scope of this exposition to go into all the details of the different ways of breathing. By the end of this chapter, you will find some examples of exercises in which the energy of the (out)breath is gradually increasing (for instance in the glass ball). Even in the chapter about the design of lessons (chapter 3) some aspects will be highlighted.
After having energized and toned the bodies individually, partner work can be introduced. Partner exercises can consist of keeping eye contact with the partner, mirroring movements, thus making contact through space. Physical contact exercises, beginning with introducing touch and working towards the acceptance of connecting to the weight of a partner—giving counterweight, building trust to let go, to give and take support—open a new territory for exploration in space. Still using in- and exhalation, as guide and means to connect. As an example, the exercise called hanging out offers a playful way to breathe together—giving each other weight and counterweight by holding each other by the wrists and, on the inbreath—hanging backward with the body as a long diagonal in space. Starting with hanging and coming back to center, step by step, it can be expanded with more coordinated movements—like sitting down together and standing up again, or letting go of one hand to paint a rainbow in the air, sitting down and getting up again—that become smooth and light when executed on the breath and with clear directions in the body. In duo work open communication and listening to the partner is an important aspect. The performers must stick to the frame of breathing and directions in the body. The hanging out exercise is part of the give & take group. This group consists of partner exercises like the flag, two little goats, walking home from the bar. Within this group there are different steps, increasing in complexity.
The next step is the exploration of echo- and circle games. These improvised games/exercises are unique to the MoM approach. In the MoM circle games communication and awareness need to be even wider and more encompassing than in the duo exercises. Peripheral view and awareness of the whole group will create a sense of connection within the whole group. The teacher will initiate the movements, creating short and diverse phrases of combined movement and breath. The circle/group will echo the teacher's phrases, first as one body/choir, then one by one. I will elaborate more on the echo- and circle games in the last paragraph of this chapter (2. 3. 6. Signature exercises).
What is the meaning of the word musicality in the MoM context?
The approach wants to open performer’s senses and widen the concept of musicality beyond the borders of what traditionally is considered 'music'. Listening is crucial in this context as is inner silence; thus, the performer can start to hear/perceive the space, the reverb, the creaking floor, the rhythm of footsteps and breathing partners, the rustling of the clothes and appreciate the musicality in it. When the exercises are executed in this musical, living surroundings, the bodies change and become softer, lighter, expressively present. Essentially, using this concept of musical surroundings, movement, music and space become one, creating something new which is more than music to movement or the other way round. Another aspect is the body itself with its impulses and emotions that can be the trigger of bodily music. It would require another, more philosophical exposition to explore this fusion of musicality and movement—which can be the result of MoM exercises—to its full potential. This exposition describes the practical way of working and the possible use in voice education.
Every MoM exercise can be regarded as a musical phrase, consisting of a preparation, a clear beginning, direction, shape, (muscle) tone, energy, a conclusion, and an end. During the training students will start to recognize the music in their movement and the music of the space while moving in it. To explore the musicality of movement and space MoM uses, among others, walking exercises. As walking is a natural movement, not requiring much thought, participants can focus on their encounters, interactions, and reactions. Walking through space, trying to spread evenly gives different physical and emotional feedback than, for instance, walking two by two with a chosen leader. Even the interaction with others in space has a musicality, in the action-reaction conversation that also can evolve during the improvisations and the circle games. Becoming aware of this overall musicality triggers a listening body which is receptive and open. Listening here is meant in the widest sense: listening to the sound of the breath, becoming aware of the footsteps on the floor, the speed of the gestures in the air, the reflection of sound in the studio, the change of the reflection of sound by moving through the space, the rhythm, and the color of the tonicity in the bodies – it is all part of the musicality of movement. The changes created by others in space keep the performer alert and ready to adapt.The ability to listen with the whole body can transform into a very organic way of making music: holistic and lively.
The MoM approach uses improvisation throughout most exercises, like the circle- and the walking games (see signature exercises in 2. 3. 6.). For classical instrumentalists and singers, improvisation is often seen as a scary, unknown territory. Being educated in a tradition that asks for precision, clean sound and intonation, and ‘perfect’ interpretations of canonic works that ‘must’ be performed in the ‘right’ way, classical musicians have become uneasy in the face of improvising, not being used to freedom. Before stepping in to an improvisation—which is not to be called like that during the training itself—the MoM teacher will gradually build up a frame which sets boundaries to this otherwise almost paralyzing sense of choice that could appear when thrown into the deep. After the playfulness of the circle games, in which participants eventually act spontaneously and without thinking—which in fact equals improvising—students would start to overthink and construct their improvisations when given the ‘task’ to improvise and would lose their physical creativity. By calling it an exercise and giving a clear and simple frame the teacher creates limitations in which it is safe to explore with movement and sound. For instance, asking the participants to only walk, sit and lie down as physical actions, exploring directions and speed, while singing a little phrase or even just one bar from a well-known piece, the improvisation gradually can unfold itself. This process needs time and will only start to happen when performers feel at ease with themselves and in the group. The teacher must know how to prepare the group before the improvisation/real-time composition can be introduced. Some groups may need more time working with the preparatory exercises. When the group is big enough, it can be split into smaller groups to allow participants to observe each other's improvisation. Watching the improvisations unfold spectators witness real-time composition in action, which can be at the same time moving, surprising and exciting. It is shown to be highly informative to observe each other and see the effects of actions on stage from the outside.
Learning to observe and to give words to the observed and learning to be observed are two sides of the same coin and as such another important aspect of the MoM approach. The performers on stage are present and being observed, the ones that watch are observing and can reflect on the observed. The teacher will ask observers to give words to what worked (for them) and provide affirmative feedback through positive remarks. Their observations need to be concrete. From their specific remarks they can be asked if they have suggestions for possible improvements.
Reflections on the individual experience can be thrown in when, towards the end of the lesson, the teacher asks for keywords. At the beginning of the training the teacher will check-in with the students by asking how their bodies are. Keywords describing what the lesson was about are part of the goodbye ritual at the end. This helps the students to remember what the effect of the exercises was. The use of keywords helps even the shyer people in the group to share their thoughts without needing to phrase long reflections. As the group develops, the keywords can be replaced by more specific feedback about what has been learned and how the acquired skills can be used in practice. The ‘throwing’ of keywords as reflection becomes part of the ritual that ends the lesson. First the keywords, then the final exercises, the frog as conclusion and final rhythmic exercise with one last frog-jump together, then coming back to the neutral, toned body and conclude the session.
Many of the exercises used in the Musicality of Movement training are inspired by corporal mime and other physical awareness programs. The way in which the exercises are being used, and the buildup of the sessions is specific for the MoM approach. Especially the non-esthetic and non-judgmental way of working can help participants to feel at ease and comfortable in their bodies, which allows them to tap more freely into their creativity. Dezsö has developed multiple series of exercises she calls signature exercises and that are a unique part of the MoM approach.The walking- and introduction series, the echo- and circle game and the series with the sheet of paper are important signature exercises.
The walking series consists of walks, starting with simply walking in space individually, getting the sense of what a phrase is, working with leading and following, decision making—regarding speed and timing—working as collective of individuals or as one organism. It has countless variations.
It can start with an apparently easy exercise which is revealing and confrontational when done for the first time: walking individually while being observed by the others in the room. It gives a lot of information about different bodies in motion, posture, breath. This leads to the next step, the realization that any action needs preparation, action, arrival, and ending. With this the participants will do another round of individual walking. After that walking synchronically two-by-two will be introduced, one performer leading, the other following (they change roles later). Their task is to synchronize their walk, starting and ending together, without orally guiding. The leader must take care of her co-walker so she cannot just start and stop, there is no talking but only sensing. After that, the walking still must be together yet without leader, requiring the performers find a shared intention from within. Next step will be walking with three and more performers, still finding the synchronization without a leader.
The walks can be seen as musical phrases, having a preparation, beginning, direction, arrival, and end. Like in playing or singing, the phrase's echo can resonate in the silence.
The introduction series starts, like the walking series, with walking individually. The performer walks in, in a straight line from the back of the stage/space as if walking on to introduce herself. This can be without sound, just walking on and getting ready. In the instructions for this exercise, the teacher can ask questions about the preparation, the timing, and the way of walking, considering it a real-life example of concert practice. The others create an ‘audience.’ By adding different elements—considering the size of the hall (intimate, spacious), connecting to the audience (or not), sitting on a chair, speaking, singing—a richer frame will be created, in which performers can surprise themselves and the audience.
In the circle- or echo games the group initially follows the teacher with movements of increasing complexity, always on the breath. Clearly breathing in and out, thus presenting small musical phrases of breath/sound and gestures, the teacher starts a series of movements in the circle, the students are the echo. The breath/movement phrase is a new musical entity, created spontaneously in the moment, not illustrating the breath or the movement. After a while, every student will start their own little phrases that travel around the circle, thus giving every participant the opportunity to create their own breath/movement. The different rounds of this improvisation game can go on for some time. The first phase can be called the echo; after the breath/movement phrase is done, the group echoes it. The next step is a canon of individually created and repeated breath/movement phrases which moves round the circle like a canon, starting while the mover before is still in the phrase. In the last step the circle intentionally moves together with the initiator of the breath/movement phrase and starts to become a choir. The circle game will create energy, playfulness, surprises, and fun.
Working with an A4 sheet of paper to connect body, breath and movement is another signature exercise. In starts with balancing a sheet of paper on one hand, sensing the touch of the hand under the paper and the weight of the paper on the hand. After a while, when the performer feels connected to the paper, she can start to move through the space with it, allowing it to lightly ‘ride’ along. Slowly she can explore the possibilities of increasing the size of the movements with the paper or changing the speed. It is crucial that the performer keeps the rest of the body toned yet soft, the breath moving, connected to the pelvic floor and the center of the body and the joints (especially the jaw and hip joints) flexible. Once familiar with it, this exercise is great to use while singing. It gives information about the physical reactions during difficult phrases and helps singers to release breath and body while phonating.
Lastly, as an example of the warming up exercises I would like to mention the sliding exercise. Seemingly a simple exercise: sliding down the legs with the hands, from the hip-joints down, on the outbreath, rising-up on in the inhalation, while moving the arms to a horizontal position. The second half of the exercise gives information about the muscle tonicity/tonality; from standing with the arms horizontally, on the outbreath three tonicities are put into action by either guiding the arms down, dropping them or pushing them with force and letting go of the tension in the body. This exercise is effective in making participants aware of diverse ways of breathing and connecting to the body.