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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.

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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.