Lillian C Brown 

I have primarily trained with Theatrical Intimacy Education (TIE) to learn the best practices, tools and techniques for intimacy direction and coordination. I also function as an Assistant Faculty member with Theatrical Intimacy Education (TIE). I maintain an active role in this organization by assisting with workshops that teach students how to ethically and efficiently approach scenes involving kissing, nudity, or simulated sex. If you would like to take a workshop on staging intimacy or would like to learn more you can visit www.theatricalintimacyed.com. TRAINING Educator Advocate Program with Theatrical Intimacy Education (TIE) — 2024 TIE Beginner Diploma with Theatrical Intimacy Education (TIE) — 2024 Consent-Forward Artist Training with Intimacy Directors and Coordinators — 2023 Mental Health First Aid with National Counsel for Mental Well Being — 2024 CPR/AED with Gordon Square CPR — 2019

An Intimacy Director/Choreographer is a choreographer, advocate for actors, and a liaison between actors and production for scenes that involve kissing, nudity/hyper-exposure, simulated sex acts or intimate physical contact.

Intimacy Directors and Choreographers are specialists who choreograph intimate scenes for live performance. (Ex: Theatre, Opera, Dance) These two titles can be used interchangeably. Intimacy Coordinators are specialists who choreograph intimate scenes for film and television. Intimacy Consultants give advice on how a production team might approach intimate scenes in a script, but they don't choreograph or stage anything. Intimacy Coaches are not theatre professionals. They counsel couples who have concerns about intimacy. This type of work is closer to marriage counseling or life coaching.

Intimacy choreography is not a one size fits all system, but there are best practices to guide the process. During an intimacy rehearsal you can expect me to... 1. Establish a vocabulary for communicating boundaries and consent. I've found Theatrical Intimacy Education's (TIE) Boundary Practice system works very efficiently. 2. Use de-sexualized/de-loaded language to keep the environment professional and respectful. (Example #1: Instead of saying, "Time for the sex scene". I would say, "Let's choreograph Act II Scene I". Example #2: Instead of saying, "do it more passionately". I might say "Seek eye contact as you make muscle level touch with an area inside your partner's boundaries".) 3. Collaboratively choreograph intimate scene(s) that fit the director’s vision, upholds performer boundaries, and tells a dynamic story. 4. Support written documentation of the choreography in order to hold everyone accountable for their role in the process.

I empower actors to advocate for themselves when rehearsing sensitive subject matter by integrating the self-care cue into my rehearsals. The self-care cue is a word that actors or production staff can say to indicate that action needs to stop for moment. The word I typically use is "Button" like a pause button on a remote control. When Button is called it is an opportunity to ask a question, shake something out or get an accommodation. Ultimately, if an actor feels un-safe performing an action, I will work with them to find a solution, adjust the scene, or modify the choreography to accommodate their boundaries. I also offer de-rolling techniques as a tool for actors to maintain emotional boundaries with the character they are portraying.

No, intimacy directors are not just for sex scenes. They also guide scenes that involve other forms of physical touch, such as kissing, nudity/hyper-exposure, or stylized movement. Examples: A first kiss Undressing for medical examinations Childbirth

I work with directors at every stage of the process to ensure that I am in alignment with their interpretation of the story. This includes an in-depth conversation to clarify and come to a consensus on their vision before I begin working with actors. I also strongly suggest that the director remain present while I choreograph, so they can offer feedback or make suggestions before the moves are set. If something happens and the choreography is unsatisfactory, I am happy to make changes as long as they are within the actor's boundaries.