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For CFA’s Cassell, Movement Is an Expression of Inner Truth

“Meticulous, challenging, magical” choreographer

The theater students in Yo-EL Cassell’s College of Fine Arts freshman movement class appear to be having such a rollicking good time that it’s easy for an observer to forget how demanding the work is, how intense the focus. Barefoot and clad in black, the 15 men and women are an organism unto themselves as they fan out, congeal, slither, pounce and sprint their way across and around the roomy basement dance studio. There is a method to their seeming madness, and it stems from Cassell’s rich and varied career as a choreographer and dancer and his belief that students experience movement “not only for movement’s sake, but to treat it as an authentic channel through which they can express their inner truth.”

What does that mean? Cassell, a CFA assistant professor of movement and Boston Landmarks Orchestra resident choreographer (and a Commonwealth Shakespeare Company former choreographer), is in his element when he deconstructs and lends meaning to the strange alchemy he inspires in his students, most of whom are theater majors. “Think of your breath as a comma rather than a period,” he urges before guiding them to imagine they are walking on sand, but without leaving a deep imprint. He shifts from silence to music and asks the students to respond to it—“but don’t feel like you need to dance.”

For acting majors, movement is an essential foundation of their craft, which is why the required course—Movement I: Freshman Performance Core—is two semesters long. (He also teaches an advanced movement class for seniors). Audiences tend to notice movement mainly when something is not right: a stride too stagey, a stance too studied, an affected pose that seems comic when that wasn’t the director’s intent.

“Our bodies,” says Cassell, “are the material we have to work with.” His hope for his students is to “find appreciation in all that life has to offer and to collect everything they sense around them as fuel for their imagination.” Through the class, he says, “we bring attention to the intention.” Taking a break to share impressions and experiences, a class member speaks of challenging herself “to try something different, to get out of my patterns.” Another describes finding the fun and the joy in the work. “The most beneficial thing,” Cassell notes on his BU website, “is to build a reputation of integrity, a sound, committed work ethic, and a genuine generosity that allows people to feel connected to your work, but most importantly, to you and your makeup. The idea is not to impress anyone, but to impress the work you do. The work will hopefully speak for itself.”

“Yo-EL exudes a positive and permission-giving energy that is core to his teaching. He wrestles with the imagination and allows it to transform into physical life through a process that is as rigorous as it is playful,” says Jim Petosa, School of Theatre director. “This is a theater artist who is meticulous, challenging, and magical—the best kind.”

The great choreographer Twyla Tharp used to open her rehearsals, Cassell says, by having her dancers “doodle” around the studio floor. As students arrive for his class, they do just that, their moves guided by motives and emotions known only to them. One may be writhing like a worm while another might curl into herself in a childlike pose. Others lurch around the floor like zombies. When their teacher begins to offer instruction, it’s something basic: follow your inner child. Within seconds the students are skipping, tumbling, or scooping each other up for piggyback rides. “Feel free to vocalize,” says Cassell, unleashing a chorus of giggles, hoots, and ululations. “See how the legs inform the whole body,” he exhorts, one of a series of prompts to improve the students’ focus. The exercise concludes with a visceral cry of “WA-KAH!”

Next, out come a bucket of tennis balls, which Cassell hands around with instructions to roll them among one another, but “let the ball come to you.” Another exercise has students couple to maintain constant eye contact as they move. Much of the proceedings involve developing the skill to place one’s body in space, maintaining a sharp awareness of the way others move around you. To observe his class is to witness organized chaos, body awareness, and role-playing. But an important component—managing impulsivity—involves restraint. For one exercise, Cassell stands at a wall and positions students in a cluster several feet away, facing him. They are instructed to approach him over a single minute while moving forward in equal increments. It’s a kind of inverse sprint and it demands complete concentration, so much so that a few students admit that they’d forgotten to breathe.

Cassell is an accomplished dancer who has performed with Ringo Starr’s Shining Time Station, the American Mime Theatre, the Pearl Lang Dance Company, and the Palissimo Dance Theatre’s Off-Broadway production of Blind Spot, and when he speaks of dance, he wants students to transcend the concept of “steps.” Much of what they’re doing, he says, is overcoming a fear of ecstatic, full body involvement. He refers often to the importance of the inner child and the notion of play. “This class is designed through a lens of childhood development and how movement informs play,” he says.

His approach was honed largely by his work with young people. Cassell was program manager for Boston Ballet’s Citydance, a program that provides free movement education to more than 3,000 public school children in Boston. “When I was a New York City Ballet choreographer working with third graders, I preferred the label psychologist-assistant to dancer-assistant,” he says.

A small, compact man with an intense, direct gaze and a gentle authority, Cassell speaks often of joy—in teaching, in choreographing, and of course, in dancing. Students speak of the effect of his gift. “The class literally changed the way I communicate, and not just in my head,” says one male student. “It changed my paradigm about everything.” For his teacher, those revelations came early. Although he’s a proficient lip-reader and speaker, he is hearing-impaired, and this has had a profound effect on his personal journey.

“I often tell people that if I wasn’t hearing-impaired, I don’t think I would be as fully invested in movement practice as I am,” he says. He attended a school for the deaf at age three, where he took a creative movement class that encouraged students to roar like a lion. “I remember feeling alive. I remember feeling ecstatic and joyful,” he says. His hearing impairment “allowed me to look at things in a different way, to connect to senses that I probably wouldn’t have connected as deeply to, specifically to touch, feeling rhythm, feeling connection with each other.”

Over his many years of teaching, choreographing, and working as a movement director in the theater, Cassell has created a teaching method he refers to as “a thoughtful fusion of various movement and theater approaches, one that stresses the importance of incorporating personal identity with a strong technical foundation.” The key, he says, is to balance the importance of owning, in equal measure, “the ecstatic and informative self in and outside the walls of movement study.”

9 Comments

9 Comments on For CFA’s Cassell, Movement Is an Expression of Inner Truth

  • leith on 04.06.2017 at 11:58 am

    A perfect demonstration of the difference between performance and expression. The extraordinary Prof. Cassell is my nominee for best teacher.

  • Meredith Teminson on 04.07.2017 at 7:52 am

    Wow, BU School of Theatre is so lucky to have Professor Cassell. His teaching is magical, inspiring, relatable and outside of the box. What is so magical is how he allows his students to become his “partners” in the journey of the experience These two videos and article completely made me look atmovement study in an entirely way. His approach seems to emphasize movement as an essential ingredient to physicalizing storytelling–something that all actors desperately need. Just by viewing and reading these, my life has changed–I need to take his class!!

  • JaredDreamArts on 04.07.2017 at 12:08 pm

    This man is brilliant-completely “moved”. Bravo! The Movement Department at BU SOT is making a holistic and inspiring statement in how movement is integral to developing story.

  • Carla Wells on 04.14.2017 at 9:24 am

    What a beautiful story–Assistant Professor Cassell is a revelation and a gift to the BU Community and to the world of Theatre. The video forgets to mention his extraordinary BREAKFAST WARM-UP, a tool that I utilized when I was lucky student of his. An original warm-up, the tools are strategically utilized to awaken and stimulated the body in ways I never discovered–allowing expressivity to freely extend. A gifted teacher, a beautiful human being and a true artist he is. Bravo!

  • Student Fan on 04.18.2017 at 8:50 am

    Finally, Professor Cassell receives what he deserves–Recognition for his brilliant and engaging practice that clearly is his own. I believe he is the most underrated choreographer and educator of movement practice in Boston and beyond. The video clearly highlights the numerous contributions he brings to the field on top of a humanity that clearly “moves” all. I often wonder why his work is not recognized more.

  • Biofan on 04.19.2017 at 9:42 am

    Thrilled to learn of the incredible work Professor Cassell is accomplishing just in his first year and highly look forward to how the amazing movement curriculum develops in the years ahead. He is a marvel and a gift to BU, the School of Theatre and to the city. What a wonderful and insightful interview with a sampling of two enriching videos.

  • Sheila Henriquez on 05.17.2017 at 7:37 am

    Wow, what a wonderful program. My favorite line: ” You can make a choice. This is going to get in my way or this is going to SHOW me the way.” Brilliant. Another favorite, ” Trust your instrument–you are different from you and you are different from you–there is no one like you.” Professor of the year in my book, hands down.

  • Max Weisman on 06.15.2017 at 2:04 pm

    Professor Cassell is a marvel–a shining beacon of hope for these gifted and lucky students–his teaching, choreographic endeavors and embracement of the goodness in life is intoxicating and infectious. So thrilled for BU, The School of Theatre and the students.

  • Trisha Johnson on 07.31.2017 at 8:12 am

    What a wonderful and moving tribute to an incredible Professor, an enriching art form and the power of teaching. Professor Cassell is a gift to not only BU and Boston but to the power of transformation.

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