Theatrical Somatics: Using theater techniques as somatic healing tools

Introduction

Throughout my decade-long immersion in theatrical academia, I began to notice striking parallels between acting techniques and somatic exercises—both of which enhance the mind-body connection and foster positive energetic alignment. In this discussion, we will explore these connections in depth.

Stanislavski

Konstantin Stanislavski is widely regarded as the father of modern acting. As a co-founder of the Moscow Art Theatre and the author of seminal works such as An Actor Prepares, his teachings have served as the foundation for numerous acting methodologies, influencing figures such as Richard Boleslavsky, Lee Strasberg, Stella Adler, and Sanford Meisner.

A lesser-known aspect of Stanislavski’s work is his integration of Hatha Yoga and metaphysics into his methodology. Stanislavsky and Yoga by Sergei Tcherkasski delves into this connection, revealing how Stanislavski utilized yoga not only for physical relaxation and coordination but also as a tool for enhancing focus and present-moment awareness. Due to heavy censorship by the Russian government between 1911 and 1920, much of his writing was restricted, making Tcherkasski’s research into Stanislavski’s personal notebooks an invaluable contribution to our understanding of this spiritual influence.

One of the most compelling examples of Stanislavski’s somatic approach is his concept of Circles of Attention, described in Chapter Five of An Actor Prepares. This exercise trains actors to maintain focus within a scene, preventing distractions from the audience.

Actors are encouraged to imagine their focus as expanding or contracting circles of light. A wide circle represents an actor overly aware of the audience, while a narrow one reflects an actor too inwardly focused. By directing attention to a specific detail on stage—such as the texture of a rug or the filigree of a metal tray—the actor finds balance, remaining fully present in the scene.

This technique closely mirrors somatic exercises designed to rewire neural pathways. In my energy training, I was taught point-of-contact meditation, in which one directs focus to points of physical contact with the external world (e.g., feet on the floor, back against a chair) rather than a mantra or breath. This method encourages neuroplasticity, supporting the creation of new neural pathways.

Ultimately, both practices train the mind to shift focus intentionally, reshaping consciousness and deepening presence.

Meisner

Sanford Meisner, a student of Lee Strasberg and a member of the Group Theatre, was deeply influenced by Stanislavski’s work. His training technique, still widely practiced today, is designed to heighten an actor’s emotional responsiveness. I studied Meisner’s method extensively while earning my Master’s degree at Regent University.

One of Meisner’s most recognizable exercises involves two actors sitting across from one another, engaging in a repetition exercise. By mirroring each other’s words, postures, and expressions, they develop a heightened awareness of their partner’s emotional and physical state, ultimately creating a deep, present-moment connection that enhances their performance.

In my somatic practice, I use a technique known as body doubling, in which I sit adjacent to a client without direct eye contact, allowing them to share their experiences freely. As they speak, I reflect back observations—energetic impressions, notable phrases, or physical cues—helping them gain clarity. By the end of the session, we are in energetic sync, working together to shift their mental and physical state through movement.

My ability to grasp this practice quickly is something I credit to my training in Meisner’s technique.

Alexander Technique

The story of F.M. Alexander is well known in the theatrical world. An actor who frequently suffered from laryngitis during performances, he sought solutions when medical professionals failed to provide answers. His self-inquiry led to the development of the Alexander Technique, which focuses on the relationship between physical posture and vocal function. Today, it remains one of the most widely practiced acting techniques, recognized for its therapeutic benefits.

For more information on its applications, visit the Alexander Technique website.

Although I did not formally train in the Alexander Technique, I studied the Linklater Technique, developed by Kristin Linklater, a LAMDA graduate influenced by Alexander’s work. Linklater’s method also emphasizes the body-voice connection but integrates emotional release techniques. In my practice, I have found strong parallels between Linklater’s work and somatic energy exercises designed to release trapped negative energies and deepen the connection between body and emotion.

What Am I Doing?

During my time as a theater instructor, I developed a comprehensive curriculum exploring the physical relationship between the actor and their craft, rooted in the Linklater Technique. By adapting this curriculum to incorporate spirituality and somatic energy healing, I now teach online workshops that empower participants to use performance-based tools to release negative energy, restore energetic balance, and reconnect with their mind-body awareness.

This online class is available here.

Additionally, I offer body doubling as part of my shamanic healing sessions and integrate point-of-contact meditations into my life coaching practice. These techniques support clients in deepening their self-awareness and energetic alignment. More details on these services can be found here.

Finally, in my web series, Healing Paths: With Luke Scaros, I explore the intersection of somatics, spirituality, and mind-body connections. Through expert interviews and in-depth discussions, this series aims to make these concepts accessible to a wider audience. Episode one, which focuses on Shamanism, is available on my YouTube channel.

Please visit my website for more offerings, and alway feel free to email with questions.