Featured Post from Villanova University

Choreographing Love: Pulling Back the Curtain on Staged Intimacy

Feb 14, 2023

2 min

Picture this... You're watching your favorite romantic comedy. It's reached the best part; the leads go in for that famous relationship-affirming kiss and bam, happy ending. Everything on screen feels so natural and easy. Well, not quite.


The intimate moments we see depicted in movies, on television and in theatre are carefully discussed and staged before and during production, with intimacy professionals leading the way. To unpack all the romantic details, we turned to Bess Rowen, PhD, an assistant professor in the Department of Theatre at Villanova University and trained intimacy choreographer.


On set, intimacy choreographers (theatre) and intimacy coordinators (film and television) make sure that the intimate contact viewers see is agreed upon beforehand with actors and the director. "In other words, we don't want to surprise an actor," says Dr. Rowen. The cast and crew work hard to make the romantic moments feel real and spontaneous within the predetermined and agreed-upon guidelines.


While intimacy coordination is a relatively new field, it has really grown in the last several years. "In 2020, SAG-AFTRA (the largest professional union for screen actors and radio actors) laid out guidelines for the use of intimacy coordinators for all union productions," says Dr. Rowen. And there are many organizations that train and produce qualified intimacy professionals, ensuring that they are engaging with new practices as the field continues to grow and evolve.


And, akin to real-world encounters, consent is the backbone of intimacy on stage and screen. "Instead of feeling forced, possibly by a power imbalance in the room to simply agree to the director's vision, intimacy coordinators empower actors to identify their boundaries," Dr. Rowen says. "Actors can feel pressured to seem 'easy to work with,' thus creating situations where their consent may get lost. To keep everyone accountable, intimacy coordinators will introduce self-care cues, boundary practice and other consent-based practices to create a space that foregrounds an actor's boundaries for any and all physical contact."


As an intimacy choreographer, Dr. Rowen understands the importance of the role. "This job is essential because it adds an advocate to set. An actor might hesitate to tell a director they're uncomfortable doing something, but if I'm there and can directly ask an actor about something, then the individual can end up feeling a lot more in control of the situation," she says. "That consent-based, trauma-informed practice leads, in my experience both as a professional and as an audience member, to more fully integrated scenes of intimacy." An actor's comfort translates to the viewer, creating a more enjoyable experience for everyone.


This type of oversight is exciting. "For years we have trained actors to expect the unexpected and be ready for anything, so it takes a minute for them to realize that this training is the opposite of that," says Dr. Rowen. "There aren't surprises or jump-scares in this work. It's about transparency. And once that's made clear, you tend to see people relax in their bodies. It's really powerful."



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Villanova PR: We sometimes hear the terms “bio-inspired design” and “biomimicry” used interchangeably. Are they the same concept? Alyssa Stark: I see those as two different things. Bio-inspired design is when we are looking at an organism and see that it’s doing something that we want to emulate as humans. I work with animals that have unique adhesive properties. I ask questions like: Can we see that? Can we build it? Can we transfer that information, those ideas, those principles – it could be chemistry, physics, biological structure – and make something useful for us? That is also true with biomimicry, but the big difference for me is that we're keeping in mind the sustainability components. The natural world is not polluting. If we're using this biomimicry lens, how do we learn from nature to make products or solve problems in a sustainable way, keeping in mind the specific environment in which we are located? As an example, we wouldn't use a heavy water process if we were in the Arizona desert, instead we should look to our immediate surroundings to solve problems. PR: It seems the work going on in this field really takes a unique level of interdisciplinary collaboration. What types of different professionals are working in biomimicry? AS: It really pulls together biologists, engineers, physicists, chemists, even design artists and businesspeople. I've worked with a lot of different businesses that want to have sustainability in their company at broad levels by using biomimicry. They are not motivated by making a cool product, but realizing it actually saves them money if they think about their whole company in a biomimetic perspective. There are people who work on the social side of biomimicry, helping these companies completely restructure themselves to be more efficient and more time and money sensitive, without ever making a product. But of course, products are a huge part of it, too. And to make that happen, all of those professions, and more, are vital and active in this space. PR: In terms of products, what are some of the most successful examples of biomimetic designs being implemented? AS: A classic one is a building in Africa that doesn't have any air conditioning units because it has a series of vents like a termite mound. Or the bullet train being shaped like a kingfisher’s beak. One scientist found that whales have bumps on their fins, which you might think is not hydrodynamic. But as it turns out, it actually cuts through water more efficiently by creating little vortices. This concept was then applied to wind turbines. There are many examples of biomimicry actually working and being used. My mind is blown when I talk to an artist or designer about biomimicry because it's just wild the way they think. PR: Where does your overall work as a biologist fit into the world of biomimicry? AS: My hard science work is very much functional morphology – shape and structure of things and how they function. That includes behavior and their organismal interaction with the environment. I ask questions like: How do their structures function and perform? How sticky are they? How fast are they? How do they behave in their environment? What happens if they hit different challenges in their environment? My work kind of naturally fits well with biomimicry, especially for product development. I observe the natural world and then I start testing questions and predictions that I have about it, like figuring out how the heck this ant is sticking to this wet leaf. My results can then be applied directly. We have to first understand how these organisms work, and then others can run with it to try to put it to use. PR: What organisms do you work with and what about them are you studying? AS: I mostly study geckos, ants, and sea urchins and I just started working with some coral, looking at why some coral undergo bleaching, and some don’t. With sea urchins, we're also figuring out where their incredibly hard teeth are mineralized so we can understand it enough to try to mimic it. I like playing in that zone, because it still provides me a chance to do the hard science, but also talk to engineers and others and provide them information. With geckos, what I kind of broke open with my PhD thesis was that they have an adhesive that works in wet environments. Having a reusable adhesive that can work on skin, especially in the medical world, is a big problem and where most of my research lies. Think of a bug that you can’t pry off, but then it suddenly runs. How do these organisms move with such sticky feet? Figuring out how to make a reusable adhesive that doesn’t get dirty and can handle all these different environments is a difficult problem to solve. PR: How do you see this field evolving, especially as we strive for a greener, more sustainable future? AS: I would say the next step is the social levels of these big ecosystems. How do we build a city that functions like a rainforest or like a coral reef? Not just a product, but how do we actually shape our world by taking behaviors, processes, or systems that we see in the natural world to help us? Look at a pride of lions and their hierarchy, or what kind of feedback loops are there in an ant colony that allow them to give information back to their colony members quickly and share resources. I think that is the future of this field, and it’s an exciting future. *To learn more about Dr. Stark’s research and the field of biomimicry, click here to listen to a recent episode of NPR’s science show, “The Pulse.”

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