"Control in kinetic art is directly wedded to the character in dramatic art."
My directorial approach deals with the power of kinetic theatre. The kinesis factors compose an aesthetically pleasing pattern of motion and design an emotionally and intellectually meaningful mobile image. The elements I work with, the actors and designers, are kinetic art: body-in-space, direction, rate, energy, control, and movement. Every change of direction involves the expanse of energy. We create stories literally out of a void: "lights up" on a vacant stage, and once this explosion of storytelling starts, it is vastly important to understand the kinetics of the production or else you will fall into a vacuum, and science will tell you that nature abhors a vacuum. Control in kinetic art is directly wedded to the character in dramatic art. The character is the way he is because of what he must do (his manners) and what he wished to do (his motives). There are two states that energy exists in, and that is potential or kinetic. What can happen and what is happening, which is thus the action of the play. Energy is manipulated within the actor(s) as they cross the stage or take up space. Potential energy is conserved by rest and controlled movement and expended by moving and speaking. External elements affect the expansion of energy: set, costume, lighting, and sound design. All aspects of the aesthetically pleasing presentation are found within how the director works the kinetic elements within the production.