The Empty Space

About my work

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1. The Journey

I was never interested in becoming someone

I went on stage because it was the only place where I wasn't required to explain myself. Night after night, the usual arrangements fell apart -- the story of who I was , who I should. be, who I had been told I was.

The body remained.
Sensation remained.
Presence remained.

That was enough.

I didn't work with a method. Methods assume someone applying them. I worked by exposure--to risk, to attention, to not knowing.

What people call creativity, I experienced as
deconditioning. What people call performance, I experienced as disappearance.

Over time, something emptied out. I call that the empty space. Not Emptiness. Space. A place where action happens without ownership, where listening precedes intention, where nothing needs to be improved before it can be lived.

As that space stabilised, the world of acting--with its labels, hierarchies and identities--no longer made
sense to me. Being called an actor felt inaccurate, even intrusive.
I had stepped out of that frame

2. Theatre and Presence

Much of my early curiosity about hypnosis and self-
entrancement found form when I encountered the mime, dancer and choreographer, Lindsay Kemp (muse to David Bowie and Kate Bush) On stage, Kemp embodied an entrancing, improvisational presence--closer to Butoh than Western character work. What I recognised immediately was not style, but a state: a sustained attentional field in which presence itself became the action.

At nineteen, newly out of acting school, I joined an
internationally renowned repertory theatre company in my hometown of Glasgow, Scotland. I was not asked to become a technician. I was allowed to remain live.

I had no interest in character.
I was interested only in presence-- and in the energetic charge carried by emotional states, often uncomfortable or socially unwelcomed ones.

It took more than twenty years and a great many roles for this way of working to fully stabilise--for a whole-self approach to become continuous onstage and off. When it did, I understood that what I had discovered was incompatible with most acting traditions. It required a sustained, embodied state of non-duality: not a role, not a technique, not a performance of self.

3. Egypt: Sharing the Practice

After decades in Theatre, I brought this exploration to young people in Egypt, where curiosity and openness create fertile ground for discovery. There, I led workshops that were never about teaching techniques. They were about creating conditions where::
- Awareness could stabilise.
- The body could trust itself.
- Identity could soften without threat.
- Creativity could arise naturally, without performance.

Participants explore presence, and attention through exercises, improvisational drama, and live exploration of emotions. By exploring these emotions in real time, people sense how they manifest in the body and learn to inhabit themselves more fully.

This work functions only one way: through continuous attention.
Not effort. Not intensity. Not belief.
Attention.
Attention. Attention to breath. Attention to space. Attention to the moment before action.

When attention lapses, the work becomes empty in the wrong way. When attention is present, the work lives--regardless of form.

4. Living Practice Today.

Now, based in Berlin, I can continue to offer workshops and explorations for anyone curious about presence, embodiment and awareness. This work is simple in its invitation: slow down, feel, notice, and be here now.

Participants do not need experience in theatre, dance or acting. They only need curiosity and a willingness to explore. The work is not about acting or performing--it is about discovering the intelligence of your own body, and about how it shapes the way you move through life, respond to emotions, and interact with the world.

5. Workshops & Creative Connection

I currently offer workshops in Berlin and internationally, including Cairo. These sessions explore:
- Embodied awareness and movement.
- Improvisational drama to feel and respond to emotions in real time.
. How thought, habit, and emotion shape movement and presence.
- How to inhabit yourself fully in daily life, not just on stage.

I am also interested in collaborative, open-ended work with other artists--dancers, musicians, writers, performers--or anyone curious about presence, embodiment, and creative attention. These connections are not structured classes, but spaces where creativity and awareness emerge naturally through shared attentiveness.

6. A Note

This is not achievement. it is responsibility: to remain available, to not solidify, to let the empty space stay empty. That has always been the practice.
It continues here, now.

@LauranceRudicWorkshops.eu
Berlin 04.02.2026

[email protected]
whatsapp +49 0151 4032 1820

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