Sarah is proud to be a Certified Intimacy Director with Intimacy Directors International.
My job as an intimacy director (also sometimes referred to as an intimacy choreographer or in the on-camera world an intimacy coordinator) is to facilitate, create, and choreograph moments of simulated intimacy in the most professional, artistic, and safest way possible for the artists involved in telling the story. I am an advocate for the actor's emotional and physical health during the work, as well as ensuring that the right story is being told through the movement and choreography that we create. I work in service of the director's vision and bring another outside eye to the script and process.
Creating space for this work includes consent training, chemistry exercises and techniques to tap into different intensity levels and vulnerability, best practices for emotional and physical safety while engaging in the work, nudity protocols, and choreographing safe, repeatable, and engaging movement to communicate the story of the scene.
An intimacy director can assist with anything from teaching techniques to create believable sexual tension between actors, to choreography for any kissing or simulated intimate touch, to staging simulated sex, simulated sexual violence, or simulated assault. An intimacy director can also be utilized to create moments of platonic intimacy and assist in creating shared vocabulary and comfort between actors, making relationships more believable and specific.
Recent projects include intimacy direction for Steep Theatre, Redtwist, Northwestern University, Pride Films and Plays, VAM Studios web series "Damaged Goods", and others.
See what people have said about some of my work here.
* * * * *
When I work as a general movement director, I am there to help find and specify the physical language of a piece in accordance with the director's vision. This can include assisting with the staging of difficult transitions, to working with the physicality of the ensemble or individual actors, to training with puppets or objects, to creating the movement vocabulary for animal or creature characters. I use my background as an aerial and circus artist, clown, Viewpoints technique, mask work, contact improv, and Laban to collaborate clearly, efficiently, and joyfully in a rehearsal room.
Please reach out for more information, references, or questions about a specific project.