No-one’s Watching focuses on physicality and choreographed movement in storytelling.
No-one’s Watching was founded to offer a creative and technical eye to the physical elements of performance in theatre and film production, and to initiate movement-led narratives.
Exploring stories that yearn to be told through physical expressionism.
Movement Direction, Choreography and Movement Coaching for film, TV and theatre.
A sustainable physical practice that focuses on movement awareness, resilience and physical communication.
No-one’s Watching is about collaboration. Our mission is to create and support visual storytelling, with innovative collaborators, by exploring the potential of physical language on film and stage.
We believe in promoting a practice that is driven by curiosity and is responsive to the individual’s strengths and limitations. We are passionate about applying a life coaching approach to movement direction in order to encourage a safe and supportive space for creativity to flourish.
No-one’s Watching Productions exists to connect the stories within our human physicality with universal narratives to heighten and empower the visceral experience of theatre, film and TV.
We act as facilitators for the co-ordination and execution of movement on stage and screen. Using the ARC of Motion method, we provide artists with the necessary toolkit to develop a safe physical practice.
We combine our knowledge of biomechanics, kinesiology and physical disciplines to devise, develop movement patterns, coach individuals and choreograph sequences.
Training programs we draw from include; Ido Portal, Fighting Monkey, Evolve Move Play, The Running School (London) & Anatomy in Motion.
The physical disciplines and methods that ARC of Motion takes inspiration from include; Capoeira, Tai Chi, Parkour, Ballet, Contemporary dance, Feldenkrais.
“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, stylise, synchronise, restrict, or normalise the physical narrative. We move through life, dance like no-one’s watching, and reveal story with our every move.”
Cydney started her career as a dancer and choreographer, working across the film, television and theatre industries. Her curiosity has led her to a wide variety of dance disciplines, movement methods, traditional martial arts and primal movement practices.
Her collaborative approach and passion for film has resulted in working in a variety of creative capacities across the arts, as well as within production teams as a crowd 3rd AD, production assistant and videographer. She has a keen eye for detail and extensive experience managing and directing actors, dancers, musicians and background performers.