This content was submitted by Yarit Dor
My name is Yarit Dor, I'm co-director of Moving Body Arts and I work in film/TV as an intimacy coordinator. I studied dance at Trinity Laban Conservatoire For Music & Dance, have an MA in Theatre Directing from Rose Bruford College, did the two year Jacques Lecoq physical theatre training, am a certified BASSC Stage Combat Teacher and a certified IDC Intimacy Coordinator (screen) and Intimacy Director (stage). My screen credits include Adult Material, Wheel Of Time, Domina, Starstruck, Spanish Princess 2, Atlanta 3 and The Girlfriend Experience 3. My stage credits include shows at the West End, National Theatre, Young Vic, Shakespeare's Globe, Royal Exchange Manchester, Bush Theatre, Kiln Theatre, Park Theatre and Gate Theatre amongst others.
Have you benefited from any ScreenSkills support so far?
ScreenSkills supported me as a mentor when I was running the first Intimacy Coordination Mentoring Scheme For Underrepresented Groups funded by the Film & TV Charity Fund and run by Moving Body Arts. I have also done several of their trainings and highly recommend them.
What effect has this support had on your career so far?
It has enriched my skills and given me more confidence and guidance when being a mentor.
What is the most interesting achievement of your career so far?
Supporting productions, cast, directors and departments in achieving their vision whilst exploring safer practices and creatively problem solving quickly on set.
If you could give advice to someone interested in pursuing your job role, what would you say?
Although the role is very commonly discussed in the press and has a buzz around it, it is demanding both physically, energetically and emotionally since some content can be uncomfortable and knowing your boundaries is important. The role is not solely a support and safety role, it requires many skills of which an important one is movement instruction, movement vocabulary and understanding of anatomy since you do need to be able to instruct, facilitate and frequently choreograph movement with the cast very quickly on set. I'd say movement instruction can be at between 40%-70% of the role on certain days on set. Thus communication, listening, creative problem solving and movement instruction needs to come naturally to you. And if not, that is something that study, assisting and mentoring can help resolve.