Movement Design for stage and screen.

We move through life, dance like no-one’s watching, and reveal story with our every move.

No-one’s Watching offers a creative technical eye to the physicality of actors and choreographed movement in storytelling.

Movement Consultation &

Character & Creature Coaching

Movement Direction & Choreography

What world do your characters live in?
What physical language do they embody?

Are there characters in your production that require a universal physical language such as a tribe, community or family who share movement qualities and habits?
Are you interested in adding a layer of heightened or stylized physicality to the aesthetic of your production?
Do you have characters that need to embody historical characteristics or public figures?
Will there be dance sequences or crowd scenes with synchronized gestures?

No-one’s Watching creates and supports visual storytelling by exploring the potential of physical language on screen and stage through Movement Design.

No-one’s Watching is led by Cydney, a movement director who specializes in physicality as a tool to support narrative. Her international experience working on interdisciplinary productions gives her a unique insight into the diverse world of dance and physical theatre.

Clients include the BBC, Film 4, the National Theatre (UK) and BBC Proms.

The Team:

Cydney Uffindell-Phillips is the lead Movement Designer at No-one’s Watching. She works alongside a diverse network of choreographers, movement directors, intimacy coordinators, puppet directors & movement coaches who specialize in a wide range of disciplines to create an aligned team that follows industry best practices.

– When does movement become structured choreography?
– When does physical contact become intimacy?
– When does a special skill become a stunt?
– When does the historical significance and origin of a movement language need to be investigated?
– When does a cultural reference become cultural appropriation?

Our team will work with you to prioritize safety by defining the moments when specialized movement professionals are required to join our team, and offer creative solutions that can be applied to provide a safe and supportive environment for your production.


We coach individuals, develop movement patterns and choreograph sequences by combining our knowledge of biomechanics, kinesiology, and a wide range of physical disciplines, with our experience in physical theatre and character psychology.

Movement Design – Consultation
& Co-ordination

No-one’s Watching provides practical guidance and creative insight during pre-production and on set. We will work with you to define where movement services can support your narrative and where they may be required to ensure a safe working environment for your production.

Character & Creature

In addition to coaching and physical training to support individual character development, one-to-one or group coaching can be provided to develop a specific universal physical language that supports and enhances your narrative.

& Choreography

From intimate moments of choreographed movement, to large-scale crowd scenes with dance, stylized movement patterns or synchronized blocking, No-one’s Watching will generate and direct the physical sequences in your production.

Cydney is an advocate for creating a safe environment and performance practice in the arts and entertainment sector. ARC of Motion™ is a movement coaching method centred on self-directed learning, designed to spark creativity, enhance performance & promote wellbeing. Cydney provides ARC of Motion™ workshops, private coaching and mentoring.

“As humans we are storytelling machines. Our body language is constantly projecting a story. The story of who we are; how we control the world around us; who we want to be; and often a story that reveals our inner conflict, displaying our hidden fears and desires. On a more structural level are our movement patterns. Similar to our body language, there are elements of our movement patterns that we are aware of (such as restrictions due to pain or injury), and there are some that are rooted so deeply in our subconscious we have no awareness of them. These are the habits and rituals that we have absorbed from our experiences. The way we move is defined by the cultural influences in our lives, and the way we have responded to them. As we move we broadcast our identity, our values, beliefs and emotions. Our tribal self also reads stories in our surroundings. We identify synchronicity and patterns in our environment and use it to establish story. These responses to our environment can provoke heightened emotional experiences as we see the world through a filtered lens. Embracing movement to explore an individual’s story of themselves and their environment can allow us to tune into a powerful element of the psyche. It can be used to heighten, stylize, synchronize, restrict, or normalize the physical narrative. We move through life, dance like no-one’s watching, and reveal story with our every move.”

— Cydney Uffindell-Phillips.