company 'Intuitions', a devised-performance based on Euripide's Bacchae for which she did the movement direction as well as played the lead role of Dyonisus. As movement director for Intuitions, she was involved in three major productions: Alice in Wonderland (1983) (based on the Andre Gregory Performance Garage text of the 1970s), Bacchae – in 84, and Buchner's Woyzzeck(1984). She has also worked with London-based Rougue 28 Theatre Company as performer and movement advisor between 2006 and 2008. Sánchez-Colberg was course leader of the MA Performance Practices and Research at Central School of Speech and Drama (2005–2008), the largest conservatory of drama and theatre in the UK. The MA focusses on physical and interdisciplinary based performance. During this time she was leader of the Dramaturgy strand of the MA Advanced Theatre Practices as well as contributed to various modules in the MA Movement Direction, MA Classical Acting and MA Musical Theatre. She was also PhD supervisor to various theatre and performance research projects ranging from interdisciplinary approaches to puppetry and dance to re-examination of Laban's work in dialogue with the philosophy of Aristotle. Her approach to movement for performance is based on Laban's principles, in particularly an understanding of the infinite possibilities of movement that are available both through the 'body's own terms' as well as in relation to working with text – devised and classical. The approach is not one that seeks to establish a movement language based on external repetition of movement patterns or effort/psychological traits, but rather one that seeks to develop the performer as an 'articulate subject' with physical, dynamic, mental and emotive dimensions all which play a role in the creation of the work. Importantly the training is organised under the framework of a 'laboratory' of movement exploration, bringing forward the idea of 'what if...' to bear upon the treatment of the materiality of the body. The emphasis is on engaging creatively in process based work whilst acquiring precise physical skills (core stability, flexibility, dynamic range, effective use of breath for movement and voice, understanding the poetics of the body-in-space and space-of-the body). However, different to the 'tradition' of 'Laban for actors' which remain rooted in 'character' and therefore addresses the actor/text/director relationship) she brings to the foreground the lesser known aspects of Laban's work and that is the study of 'making space' (choreutics). This angle aligns the work of the performer to the work of