Say Hello to The Conditioning Studio

The Conditioning Studio.

A little slice of heaven that allows you to pick and choose from a variety of equipment to maintain and optimise your ‘performing body’.

In order to support and facilitate your training- Trinity Laban Health are providing FREE use of their new fully loaded conditioning studio.

The Conditioning studio is for TL current students. If you’re a new student or one returning to us here at Trinity Laban- here’s a little overview of what you can expect from TL Health’s exciting new Conditioning Studio.

What do we have to offer?


An extensive range of strength and conditioning equipment to suit both the Dancer and Musician.

The studio can be divided into three main areas:

Cardio & Weight Training Area.


Cardio Machines

Designed to improve cardiovascular fitness which can benefit your overall health as well as your performance. Our available cardio machines are:


An excellent way to build your endurance, allowing for changes in speed and incline giving you the option to vary between walking and sprinting on flat or uphill ground.

Cross Trainer

A cross trainer works 80% of your body’s muscles including thighs, calf muscles, buttocks, back, chest, biceps and triceps. Again an ideal machine for developing endurance. Resistance can be adapted to suit your needs and it allows you to work at a high level without putting unnecessary pressure on your joints.


More than just your average road bike. The Wattbike measures Heart Rate (HR), Pedalling technique, bilateral balance of power and angle of peak force with just the click of a button. Learn more about the Watt bike here

Free Weights

Build, strengthen and maintain muscular and cardiovascular fitness.

Our Weights range from 1kg-40kg

We have a variety of equipment available such as: Dumbbells- Kettlebells- Medicine Balls -Power Bags


Mat Work Area

A designated floor area where you can help yourself to a wide range of equipment to condition your dancing/musical body.

The following apparatus is at your disposal:

Yoga Mats- Ballet Barre –High Barrel- BOSU Balls– Battle Rope

TRX Suspension Cables


The TRX Cables may look a little daunting but this fab piece of apparatus is ideal for all fitness levels. The boundless nature of the cables allows you to adjust your position and decrease resistance at any time- making this an easy, safe and enjoyable whole body workout.

Pilates Area


We have a range of  Pilates equipment including Cadillacs and Reformers!

Side Note:

This cannot be used during Self-Practice. To take full advantage of the Reformers & Cadillacs come along to one of the FREE Pilates classes.

The Classes

Yoga- Pilates- Strength and Conditioning Classes


Taught by specialist practitioners.

How can I book?

Follow the link below and simply click on the button which looks a little like this.



You will be able to book all future Self-Practice sessions and classes from here.

Remember you will need to partake in a short 30 Minute induction before you can enjoy the self-practice perks of the studio. No induction is required for classes.

If you’d prefer to come and book in person, come and say Hi to a member of the Health Staff at the Health reception- who will be more than happy to help!

Other ways you can get in touch:

Telephone- 0208 305 9479/9482



A warm welcome from the TL Health Staff

Clinic Admin Manager

Rachel Emms

Graduate Interns

Fliss Beach & Jess Coleman

What better way to dust off the Halloween cobwebs than to start working towards a healthy performing body right here on campus.

We look forward to seeing you soon!

Jessica Coleman: Graduate Intern, Health


ArtDubai09 © Vipul Sangoi_MG_3834

Image: Joumana Mourad

Joumana Mourad graduated from Trinity Laban 1994. Since leaving and setting up her own company, she delved into the world of digital technology, and is currently developing a new online platform which aims to revolutionise the way that artists and audiences can communicate and co-create online.

We caught up with Joumana back in July to talk about the project (interview 07 July 2016):

Tell us about your journey from studying at Trinity Laban to now. 

I didn’t know much about contemporary dance when I started my studies at Trinity Laban, so it completely opened my eyes to the style and to the concept of choreography. I didn’t know choreography was even a career option, so when I came here I thought, wow, I can create! The world of dance suddenly had new meaning with immense possibilities – it was about celebrating culture, concepts, and stories. The potential Trinity Laban gave me was huge.

As my curiosity about creation grew, I started asking more and more questions: how do I create work that is personal yet universal? How can I make work that is very engaging, in my own way? How do I position myself in relation to the audience? I wanted to experiment and have fun with different mediums of performances to bring some punctuation’s to the work: circus, abseiling, film, technology. As a consequence, using these methods of expressions meant that the presentation of work changed e.g. performing work in the round.

After graduating, I worked with a few different companies before founding my own (IJAD Dance Company), and started to create work with scientific themes at its core. My first few pieces were in-the-round; I would dress the walls with immense cloths and project films onto them to creative immersive experiences. I also tested out different environments in which to create; we even worked underwater, and with zero gravity. All the work was fun and experimental, inside out and upside down! It was thrilling and still is.

Six years after my graduation, the dance-digital work of Trinity Laban’s Professor of Choreography Wayne McGregor CBE inspired me to delve deeper into technology, and to ask what it could bring to dance. This was followed by invitations to collaborate in Taiwan, Italy, Germany, the United Arab Emirates, Egypt, Switzerland, Spain… and this interaction with new cultures made me aware of the role of the woman in each of these cultures, culminating in a project called Secrets.

It suddenly became quite significant to look into technology, and how we can help audiences to see more dance at this time of financial difficulty.

What kind of work does your company strive to produce? 

We are in the last stages of finalizing our new platform that will allow IJAD and other arts organisations to develop a new and dynamic relationship with their online audiences. To this end I have recently started exploring sensography, working across three platforms of choreography. I am enjoying collaborating with Andrew Newsam the Astrophysicist, Dr Pauline Brook whose speciality is telematics and transmedia. We are able to work with dancers on inner-body technology that can help them to produce meaningful work across physical, social and online platforms, going through different methodologies of embodiment. This is what drives me at the moment. I hope this kind of technology will allow me to collaborate with as many dancers as possible across the world.

You have a residency at FACT (Foundation for Art and Creative Technology) at the moment. What are you working on?

FACT’s interest in my company’s Secrets project sparked meetings with them about technology and the way IJAD Dance Company wants to push the boundaries of dance, while challenging the concept of the ‘fourth wall’. We’ve discussed the possibility of creating a theatre online, and so at the moment we are working with a movement specialist and an astronomer to help us with the movement vocabulary – both from Liverpool John Moores University. We are also collaborating with an amazing studio called Citrus Suite on developing the platform host: the open access theatre.

What’s your aim for the end result?

The residency will finish with a performance – Walk Into Space – that we are hosting across two months and three platforms. Walk into Space will feature as part of the No Such Thing as Gravity season at FACT and will be promoted alongside all the associated events of that strand (talks, exhibition, workshops). This is challenging and unprecedented, but FACT is very keen to support us.

The aim of it all is threefold: firstly, to create a toolkit for performers and choreographers to be able to create work across platforms; secondly, to be able to create material or movement technology that we can help dancers or performers be able to be more aware of their expression while they are streamed; and thirdly, to be able to make a platform any artist can use, so it becomes a collaborative playground.

Will the web platform remain online after the residency finishes?

This online open theatre will be residing online from mid November 2016.

IJAD Dance Company’s collaborators at FACT are as follows: NITEcorp, Citrus Suite, Anton Hecht, Andrew Newsam Professor of Astrophysics, and Pauline Brooks PhD, MFA, Reader in Dance Performance & Pedagogy, both from Liverpool John Moores University (LJMU).

For more information on IJAD and the online open theatre, please visit


The latest BA3 Commissioned Works show at Trinity Laban features two dance and music collaborations: one between choreographer Lizzie Kew Ross and the student vocal ensemble Rubythroat, and one between two artists and members of the Trinity Laban community: choreographer and dance lecturer Zoi Dimitriou and composer and PhD student Hollie Harding.

One of the benefits of Trinity Laban’s unique community is that there are plenty of opportunities for musicians and dancers to come into contact. This particular collaboration between Zoi and Hollie had its origins in a social event for Trinity Laban researchers, when the two of them got chatting and realised they shared many of the same preoccupations. The connection deepened when Hollie came to see a work that Zoi had choreographed for first year undergraduates: the piece featured body percussion and revealed an intriguing relationship between sound and action. From there, they were both excited by the idea of collaborating on a new piece. The concept for the work follows from a larger body of research that Zoi is currently undertaking for her new choreographic project to be premiered in May 2017. Part of her research was used as the springboard for this new work and influenced main directions in the collaboration.


Image: Zoi Dimitriou (Promotional image for The Chapter House)

It was always clear that this would be a true and deep collaboration. Hollie wouldn’t simply hand over a score for Zoi to choreograph to, and Zoi wouldn’t create a choreography for Hollie to score, rather they would both be inspired by the same starting-point, and then hone the work together.

The title: Coordination and Navigation of Heterogeneous Humans Stabilised under a Visual Relative Localization, is a description of what the work sets out to do, and resonates with visual art perspectives. Inspired by artificial life simulations, the piece invokes a set of computer-generated rules – originally drawn from observing animals in nature – that govern how the dancers move and interact.  The same computer-generated rules were the conceptual starting point for Hollie’s music. Both Zoi and Hollie were fascinated to see how the same idea could inspire different and surprising responses in them both.

Zoi says: “It’s fantastic when you get to see the same proposition, viewed from another discipline. I find that it reinforces, clarifies and deepens your understanding. That is what true collaboration is all about”.

Hollie, in turn, was inspired by spending time in the studio, observing Zoi and the dancers at work. As the project progressed, she developed her material through, “Self-directed intuitive changes based on observations, changes based on feedback from and conversations with Zoi and the dancers, and changes in timings to generate specific cues”. Having previously collaborated with choreographers on works using live musical performers, Hollie chose this time to make a purely electroacoustic score for the collaboration. This was the most fitting sound world and also meant that she could make immediate changes in the Studio, and so create something very closely entwined with the choreography. The two art forms are interlinked and interdependent in the piece: “the music depends on being heard with the movement of the dancers’’, says Hollie.


Image: Hollie Harding

According to both of them, the collaboration has been “bizarrely easy!” They put this down to various factors:

  • They had a familiarity with each other’s works, interests and artistic preoccupations.
  • There was an initial starting point outside of their disciplines that they responded to.
  • Both agree that in the collaborative process they have each been “open-minded, generous and have asked for genuine feedback, which helps a free exchange of ideas and means that there’s no sense of holding back”.
  • They stressed the importance of “play time before you engage in a collaboration”, having time to try out ideas freely.
  • They each brought a strong artistic perspective that allowed the development of more rigorous and uncompromising processes.

The collaboration has filled both Zoi and Hollie with more ideas to take forward into their practice and research. Hollie finds inspiration in dance methodology and hopes to explore generative approaches and creative play, with classical musicians. Whatever Hollie and Zoi do next, it’s likely that they will continue their collaboration in the future.

BA3 Commissioned Works
Laban Theatre
20 & 21 October 2016



Image: Raymond-Kym Suttle

Raymond-Kym Suttle graduated with his MA in Dance Studies in 1996 after originally training as an actor. Since graduating, he has worked as a dancer, choreographer and burlesque artist before moving to Los Angeles to pursue his film career further. Here he talks to us about his work so far, including his use of semiotics – discovered during his studies – in acting.

Tell us about your time at Trinity Laban.

I originally auditioned for the Transitions Dance Company (MA Dance Performance), but was offered a place on the MA Dance Studies on a scholarship. I had some professional choreographic experience – though for theatre rather than dance – so thought this would be a good opportunity to develop. It was great having access to rehearsal spaces, real dancers and a theatre space to work in. Discovering the field of semiotics was a revelation and one that I’ve grown to love more and more as I observe it in action every day in the people around me.

Ultimately I got a lot out of my time at Trinity Laban, but it also reaffirmed my sense that one should never conform to someone else’s ideals – stick to your guns and create what feels right for you.

Thanks to my MA, I’ve been able to teach choreography and dance at prestigious venues such as the Skyros Centre in Greece.

I now perform regularly under the banner of ‘male burlesque’, as my alter-ego Major Suttle-Tease, though what I do isn’t pure or classic burlesque by any means. I combine dance with stand-up comedy, song and inventive clothing removal performed to complex pastiches of music, recorded dialogue, projected imagery and sound effects.

I embed strong socio-political messages in my work – although my work is fun, there’s a serious point I’m making. My hope is that I’ll reach people who wouldn’t usually go to a serious play, and present them with something meaningful to get them thinking.

You originally trained as an actor; why did you decide to do a Masters in dance?

It’s a good question, because after I finished my BA in English & Drama I swore I was never going to study again!

I’d always been an actor who dances, and still am. I’ve also done a lot of physical theatre in which actors use their bodies and props to create an environment or a mood. I have always been aware of the power of the human body to convey things that the voice and words cannot – and vice versa.

The primary benefit of being both an actor and choreographer is that when creating movement as part of a play, I have an understanding of what actors are comfortable with – actors are very different to dancers. Dancers, in my opinion, are better at taking criticism because they’re used to being told/shown what to do and how to do it, whereas that’s not the case with acting. One of my strengths is finding a way to make actors feel like they’re part of the choreographic process so that it’s acting through movement, rather than ‘dance’, because a lot of actors have a strong belief that they’re not dancers and therefore freeze at the word ‘choreography’. When you help them to see that everything they do on stage is choreography you get great results. For example, I was asked by a director to create the transformation of 8 actors from courtiers into a pack of blood-thirsty hunting dogs. That result was one of my best reviews to date, with my choreography described as being “reminiscent of the great Pina Bausch”. Ironically, at the time I got the review, I’d never heard of Pina Bausch (!) so it took me a while to realize how much of a compliment that was!


Image: Raymond-Kym Suttle

Your methodology for acting based on the semiotics work you did during your Masters sound fascinating! Please tell us more.

I aim to help actors become consciously aware of the processes that most actors use instinctively, because they’re using them in every day life: body contact, physical appearance, facial expressions, and other non-linguistic aspects of speech.

Many great actors use these indicators unconsciously – they instinctively know what to do but couldn’t explain to you exactly what they did, why they did it, or why what they did works. It’s my belief that knowing why you did what you did is more useful than just using instinct and hoping for the best.

To begin with, I get the actors to sit at a table, with their hands flat on the table and feet flat on the floor, and deliver a highly emotional extract of script, with no particular emotional force, just focusing on making sense of the words. They are instructed not to gesture with their hands, not to do anything deliberately with their facial expressions, not to move/shift in the chair/tuck their feet under them, etc. They are told they can do whatever they like vocally.

Most people, in this first stage give me clues as to where their emotions ‘bleed’. It may be an involuntary lift of a finger off the table, or a tap of a foot, or a lift of the chin. This emotional ‘bleed’ may well be anxiety, or it may be a response to the text. Wherever that ‘bleed’ is noticed I then make them aware of what their body does unconsciously to release tension (physically or emotionally).

I then ask them to do the scene again, this time concentrating on finding a moment, just one single moment, when they feel the strongest desire to change one of the semiotic indicators: one hand gesture, change their orientation use a head nod/shake, etc.

We gradually build and build until when we get the actor out from behind the table, hopefully they are now highly aware of whether whatever gesture they’re doing is absolutely necessary, or if they’re making choices in an attempt to be ‘interesting’ rather than emotionally true.

There’s a lot more to the process and it’s not effective on every actor but it’s a useful tool for becoming conscious of how we do what we do and what works to make something seem convincing.

What are your future career plans (dance, acting, and more!)

I moved to the USA primarily to further my film-making career on both sides of the camera. I have a feature film script that is semi-autobiographical, that I converted into a stage play to help me sort out some issues I was having with the chronology and details of the plot, as well as to see how some characters needed to change. I produced the play in London and that was very useful when I rewrote the film script. Ironically I now have a producer in LA who’d like to see a stage version of the new script, and someone who saw the play in London would like to do a translation into German and direct it in Germany.