Theater performers, more than common actors, experience high physical loadings. This study aimed at analyzing the motor behavior of novice performers (dancers/actors who were introduced to the acting method of Jan Fabre) by investigating the kinematics of a physical acting exercise in a prospective study. Two measurement sessions were organized: before and after the novice performers (N = 13) took part in seven workshops. Total body kinematics were registered using a three-dimensional motion capture system. Using a principal component analysis, six factors were disseminated out of 30 kinematic parameters: Pelvic Motion, Speed of Progression, Lower Limb Position, Foot Motion, Lower Limb Motion, and Trunk Posture. Although no main effect of training was found for any of the factors (.429 < p < .964), Trunk Posture showed a higher consistency after the workshops. This study succeeded in providing insights in the motor behavior of theater performers and revealed recognizable features of motor learning.

Two previous studies showed kinematic differences between novice and experienced performers during unchoreographed movements executed in standing position. However, no study explores if these kinematic differences holds during unchoreographed movements executed in quadrupedal position. The aim of this study is to compare the movement behaviour of experienced and novice performers during an exercise wherein they are challenged to use dynamic and largely unchoreographed movement patterns executed in quadrupedal position. The exercise studied was the Cat exercise, in which participants were asked to behave like a feline for 10 minutes. An inventory of the chosen movements and the assessment of their average and coefficient of variation of the ground contact temporal parameters, computed by analysing the tri-dimensional whole-body kinematics of 25 performers (n = 13 novices and n = 12 experienced), was compared according to their experience level. No significant difference was found between the groups for the number of chosen movements, and median or coefficient of variation of ground contact temporal parameters, except for a greater foot/ knee swing coefficient of variation in experienced performers. This suggests that biomechanical constraints induced by quadrupedal position “prevent” a different selection of motor strategies by experienced performers, although the latter can be more variable in their movements.

This cross-sectional study aimed at developing a biomechanical method to objectify voluntary and unpredictable movements, using an automated three-dimensional motion capture system and surface electromyography. Fourteen experienced theater performers were tested while executing the old man exercise, wherein they have to walk like an old man, building up a sustained high intensive muscular activity and tremor. Less experienced performed showed a different kinematics of movement, a slower speed of progression and more variable EMG signals at higher intensity. Female performers also differed from males in movement kinematics and muscular activity. The number of the trial only influenced the speed of progression. The performers showed results which could be well placed within the stages of learning and the degrees of freedom problem.