Jacques Lecoq’s teaching of the collective movement of Chorus in Greek Tragedy has profoundly influenced my practice as a Movement Director. I use Chorus to contextualise and layer the written text or to enhance the drama. My starting point is always the play, but the results go beyond a linear and descriptive narrative towards something more metaphorical. The Chorus is poetic for me – I see it as an animated conceit, which though abstract, is alive in the theatre space. I work with rhythm, dynamics, identification and qualities of movement whilst always conscious of the need to place the play in a social context. Movement Directors often animate the playing space by using the principles of Chorus: ‘. . . a ripple of movement [will] spread across the stage and lead to the next speaker. I see how it creates life on stage simply because you are aware of the group without having to be psychologically motivated’ (Morris, 2014).