
Conversations How I use touch to tell stories — my work as an intimacy director
Mar 9, 2026
Lisa Petty, movement and intimacy director who began dancing in 1980s New York, guides performers in consent-based physical storytelling. She discusses choreography of touch, how physical detail shapes character, wartime dance halls as luminous intimacy, safety enabling creativity in intimate scenes, and the role of proximity and presence in performance and parenting.
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Nudity Can Be Political And Needs Intention
- Nudity on stage can be a political statement and remains vulnerable despite wider cinematic exposure.
- In Hair Petty used warmups and focused character intention so 18 naked bodies stood defiant rather than merely provocative.
Retirement Home Chats Sparked Dance Hall Research
- Visiting her aunt in a retirement home led Petty to interview elders who repeatedly praised wartime dance halls.
- They described three‑hour dances as luminous escapes where touch, smell and rotation (barn dances) enabled connection.
Dance Halls Made Touch Socially Safe
- Dance provided sanctioned, repeated opportunities for touch, smell and mass communion that built social confidence.
- Petty links rotating barn dances to a form of social speed‑dating that made physical contact ordinary and memorable.
