Anna Allgulin (Theatre Academy, University of the Arts Helsinki)

Anna Allgulin is an actress and theatre director. Her doctoral research deals with ‘the speaking actor’ developing her personal experience wich she had mainly in the Stanislavsky tradition – namely the lineage of Knebel-Vasiliev – as she spent about a decade acting in Anatolij Vasiliev’s Moscow theatre in the end of last century. She graduated in GITIS, Moscow 1994, and later also in TeaK, Helsinki 1999. She is trying to systematise a common ‘method – technique and thinking’ for acting, directing and teaching theatre, where the main focus and centre lies in ‘what to do with the words’. All the rest one can find on stage – physical movements, mise-en-scènes, music, silence, acting, non-acting, concrete feelings and perceptions, abstract thoughts and fantasies, different kinds and grades of presence, different kinds and grades of contact, immanence, transcendence, etcetera, even lightening – is in her method emerging only from ‘actors pronouncing words together’ and from precise rules for that, defined and developed during her research.
She ran during a couple of years in the early 2000’ths Blidö Biografteater in the Stockholm archipelago. Her research performances in Finland are: “Grönholms Metod”, “Sonen”, “Madde Min Vän” and “O!DiPUSS.A.S.”

Geert Belpaeme (Royal Academy of Fine Arts & Royal Conservatory, University College Ghent)

Geert Belpaeme is artistic assistant drama at Royal Academy of Fine Arts & Royal Conservatory, University College Ghent where he graduated as performer and director in 2010. Besides his pedagogical practice he also works with his own theatre company l’hommmm. In 2014 he will start a 4 year research project called ‘Towards a new materialism’, outlining the depth of imagination as a physical rather than spiritual entity and confronting Nietschze’s view on truth with our contemporary way of dealing with material reality.

Hannu-Pekka Björkman (Theatre Academy, University of the Arts Helsinki)

Hannu-Pekka Björkman is Professor in Acting at Theatre Academy, University of the Arts Helsinki. He graduated from Theatre Academy as an actor in 1997. Since that, he has been acting in numerous theatres, for example, at the Finnish National Theatre, KOM-teatteri, and Q-teatteri. He has also worked in international productions, at the Royal Flemish Theatre (KVS) in Brussels and Munich Kammerspiele, to mention but a few. He has starred in 30 movies and in several TV productions and published two essay books on art. Works also as a columnist. Björkman has been given the award for the best Finnish male film actor, as well as the Ministry of Education and Culture’s Suomi award, among other things.

Mikko Bredenberg (Theatre Academy, University of the Arts Helsinki)
Mikko Bredenberg is an actor and theatre and drama educator. His doctoral research deals with the psycho-physical processes of acting. In the core of his research is scenic imagination. The hypothesis is that, prior to a performance, “the stage” can be constructed inside the actor/performer. In the acting method to be developed, the bodily felt sensations and mental pictures form the score of the performance. This phenomenon can be called “The Inner Stage”. In Bredenberg’s doctoral research psycho-physical acting is approached from both artistic performances and phenomenological research.

Margaret Coldiron (East 15 Acting School, University of Essex)

Margaret Coldiron trained as an actress at the Drama Centre, London, toured the United States with the National Shakespeare Company and spent many years training professional actors before she came under the spell of Asian masked dance drama. In her doctoral research she studied Balinese topéng with Ida Bagus Alit in Bali and Japanese nô with Michishige Udaka and others in Japan. She is the author of Trance and Transformation of the Actor in Japanese Noh and Balinese Masked Dance Drama (Mellen Press, 2004) and numerous articles and reviews in journals such as Asian Theatre Journal, New Theatre Quarterly and Consciousness, Literature and the Arts. She is currently Deputy Head of the BA World Performance at East 15 Acting School/ University of Essex, and Associate Director of Thiasos Theatre Company, specializing in intercultural productions of Greek classics ( She has continued her training in Balinese performance with regular visits to the island for over 20 years and performs internationally with London-based Gamelan Lila Cita and Lila Bhawa Dance Troupe.

Outi Condit (Theatre Academy, University of the Arts Helsinki)

Outi Condit is an actor and performance maker who works in both the margins and the mainstream of theatre and performing arts. After graduating as an actor from the University of Tampere in 2004 she worked for six years in the Turku City Theatre before deciding to go freelance and move to Helsinki. In her own work she is particularly interested in the performer – audience relationship and has created several performances that linger between theatre, installation and participatory immersion. She also works with the Helsinki- based collectives Other Spaces and Reality Research Centre and is part of the “Actors Art in Modern Times” research project. Her teaching credits include teaching physical expression in the Turku Arts Academy and being a co-teacher in the 2013 master class at the Theatre Academy for actor and director students in actor’s dramaturgy and collective rehearsal process.

Juanjo Cuesta Dueñas (Escuela Superior de Teatro, Institut del Teatre Barcelona)

Trained in Decroux’s Technique in Paris and with Philippe Gaulier in London, Juanjo Cuesta holds a BA in Dramatic Art from the Escuela Superior de Teatro in Barcelona, where he works as Lecturer since 2001. His artistic work encompasses both film and theatre, where he works as an actor and a director. He has also worked as taught the assistant of movement at the National Theatre of Catalonia. Cuesta’s own company Líquido Teatro has visited numerous venues and festivals, such as Rabat and Casablanca in Morocco, Mimos festival at he Cité Universitaire-Paris and the Sueca Festival in Valencia, to name but a few. He is currently doing his PhD at the Institut del Teatre / Universitat Autonoma in Barcelona.

Aleksandra Czarnecki Plaude (Stockholm Academy of Dramatic Arts, Stockholm University of the Arts)

Movement educator, choreographer for theatre, stage artist and pianist. Associate professor in Movement Expression at the Stockholm Academy of Dramatic Arts (formally the Stockholm Academy of Acting), where I have taught since 1998.

I hold a Master of Music Education and a Graduate Diploma in Eurhythmics majoring in movement expression and piano improvisation from the Royal College of Music in Stockholm. I have a certified diploma as yoga instructor and have had extensive professional development on vocal technique.
I am a senior lecturer in Eurhythmics and movement expression for actors as well as a performance artist, with my background in music. My artistic experience has centred on performance work combining dance, theatre and music as equal interpretative expressions. I also work as a choreographer for theatre productions, most recently for the Royal Dramatic Theatre. I have the past few years been engaged to teach students within film and media – directors, scriptwriters, documentarists, TV-producers, film photographers etc. In my work with this new student group I have focused on developing a professional bodily competency adapted to the theme and project within the group.
Artistic research project:
• “Blottlagd”, Royal University College of Music, Stockholm, 2000
• “The Actor’s Work with the Body and Dramatic Text”, Stockholm Academy of Dramatic Arts 2009-2010
• ”The Body as the Instrument – Searching after New Bodily Competencies”, ongoing project from the Fall of 2013

Fred Dalmasso (Institute of Humanities and Creative Arts, University of Worcester)

Fred Dalmasso is a practitioner/researcher who mainly writes on the interaction between performance, philosophy and politics and is currently working on a monograph on Alain Badiou’s theatre. He is Senior Lecturer in Drama and Performance at the University of Worcester (UK). As a practitioner, his interests lie with non-performance and the relationship between performance and film. He has recently been devising a participatory transmedia experience adapted from John Schad’s documentary novel Someone Called Derrida and working on a collaborative practise-based theatre translation research project entitled The Politics of Rhythm.

Mark Evans (Coventry School of Art and Design, Coventry University)

Mark Evans is Professor of Theatre Training and Education and Associate
Dean (Student Experience) in the School of Art and Design at Coventry
University. He originally trained in theatre and movement in Paris, with
Jacques Lecoq, Philippe Gaulier and Monika Pagneux. He began directing and
performing on the London Fringe in the 1980s, later moving into education
where he has taught theatre practice and movement for over twenty years.
He has published books and articles on movement, theatre training,
performance and creative entrepreneurship education. His most recent
publications include ‘Jacques Copeau’ (Routledge, 2006), ‘Movement
Training for the Modern Actor’ (Routledge, 2009) and ‘Making Theatre Work’
(PALATINE, 2010) and a chapter on the French ensemble tradition in
‘Encountering Ensemble’ (Methuen, 2013). He has also published journal
articles on Jacques Lecoq’s pedagogy and on somatic practices and
movement. He is an Associate Editor of the Theatre Dance and Performance
Training journal, and was guest editor of the Sports Special Issue (2012).
He is currently writing a new book for Palgrave Macmillan entitled
‘Performance, Movement and the Body’, and editing ‘The Actor Training
Reader’ for Routledge, both to be published in 2015. He regularly directs
new plays by the playwright Vanessa Oakes.

Lee Hassall (Institute of Humanities and Creative Arts, University of Worcester)

Lee Hassall is a sculptor who has exhibited performance, installation, and film work both nationally and internationally. He is Course Leader in Fine Art at the University of Worcester. Since 2010, he has been working on a PhD in performance in the Department of Theatre, Film and Television at Aberystwyth University. The PhD is practice-based and explores questions to do with what Lee defines as ‘grotesque sublimity’ in the work of the artist Thomas Rowlandson. Lee’s study draws on his own practice as a sculptor and performance maker. ‘This PhD is about Landscape – more accurately, it is a PhD about picturesque landscape and what it means to ‘fissure’ that landscape and perform whiteness.

Leo Honkonen (Theatre Academy, University of the Arts Helsinki)

Leo Honkonen graduated with an MA in acting from Theatre Academy in 2012, and has participated in the research project “The Actor’s Art in Modern Times” ever since.

Joa Hug (Theatre Academy, University of the Arts Helsinki)

Joa Hug is a doctoral student at the Performing Arts Research Centre, Theatre Academy. Artistically, his research is grounded on Body Weather, a comprehensive training and performance practice that emerged in Japan in the 1970’s and that seeks to investigate the intersections between bodies and their environments. Hug has been training, and closely collaborating, with Katerina Bakatsaki and Frank van de Ven, the founders and leaders of Body Weather Amsterdam. In his doctoral research, Hug investigates the impact of Body Weather training practice on the performer, in particular on the subject of its presumed potential to alter the relationship between the processes of sensing, perceiving and reflecting in the action of performing, as well as with regard to the implications this impact might have for an epistemology and methodology of artistic research.

Pauliina Hulkko (Theatre Academy, University of the Arts Helsinki)

Dr. Pauliina is a dramaturge and director, as well as an artistic researcher currently affiliated at the Theatre Academy, University of the Arts Helsinki. She makes performances in various public spaces and social contexts with performers and elements from several art fields and walks of life (theatre, dance, poetry, music, visual arts, amateur and disabled performers etc.). In her research, she has mainly discussed the questions of dramaturgy, materiality, and ethics in relation to the performer. Since 2008, she has also participated in the collective, Theatre Academy based research project “The Actor’s Art in Modern Times”. Hulkko’s recent artistic and pedagogic endeavors focus on sensation, perception, utterance and embodiment, which she uses as concepts/tools for training, performing and performance making. During the past 10 years Hulkko has been active in Finnish art and artist union politics. This year she will begin as Professor of Theatre Work at the University of Tampere.

Małgorzata Jabłońska (The Grotowski Institute)

Małgorzata Jabłońska is a theatre researcher and doctoral student at the Department of Performance Studies at the Jagiellonian University, Kraków. Her field of interest are the history and problems of actor training and the methodology of description of the body and non-verbal communication strategies in the theatre and social life. She is working on a PhD thesis on the influence of Meyerhold’s Biomechanics on the concepts of actor training in European theatre. As a collaborator of The Grotowski Institute she was the originator and main coordinator of the first in Poland international conference on Vsevolod Meyerhold organized by The Grotowski Institute in Wrocław (October 2013). She is a member of the CHOREA Theatre Association and collaborator of the Studio Matejka. Since 2007 he has been running workshops, at the Jagiellonian University and the Institute of Polish Culture at the Warsaw University.

Susanne Jaresand (Luleå University of Technology)

University graduate 1982 Dalcroze –Rhytmics at the Royal College of Music in Stockholm where she was working in 1996– 2013, since 2004 as Professor of rhythm and movement.
From 2013 she has been Professor (60%) of rhythm and movement at the Luleå Technical University Acting Department.

From 2011 – Artistic Director of Gotland Dance Education (50%)
Susanne will start an artistic research with grants from the Swedish Research Council for two years 2014 -2015; “Listen to listening, Counterpoint in dance and in music in a listening Attitude”.

Jaresand is active as professor in movement and rhytmic, choreographer and musician. From 1 April 2013 Susanne is professor in movement teacher at Luleå Technical University. With nearly fifty own choreographies, she has also been involved in numerous productions at Stockholm’s main scenes, including ”Mästerkattan” by L.Hellsing at the Royal Theatre , Euridice of J.Peri at Drottningholm Court Theatre and artistic director of the Concert series ”5” at the Jewish Theatre in Stockholm . Susanne was the director and choreographer for the divertissement for the Nobel dinner in 2000. Susanne has directed and choreographed ”Queen Christina” for SVT and a European tour with the ultimate goal of Rome in collaboration with soprano Susanne Ryden. ”One God one Farinelli” was also a collaboration with Ryden where the counter tenor Michael Bellini appeared . She has produced a dance and music trilogy at Norrlandsoperan in Umeå with freelance dancers and NorrlandsOperan Symphony Orchestra with music by A. Pettersson, I. Lidholm and most recently the Violin Concerto of Unsuk Chin with Anna Lindal as soloist and conductor Staffan Larson. Susanne Jaresand is also engaged to make choreography in theatres, from small avantgarde places to the more established institutions.
She lives on a farm in Southern part of the island of Gotland.

Esa Kirkkopelto (Theatre Academy, University of the Arts Helsinki)

Esa Kirkkopelto is a philosopher, artist-researcher, former theatre director and playwright, and the convener of the Helsinki-based live art collective Other Spaces. He holds a PhD in philosophy from the University of Strasbourg (2002), and has been working at the Theatre Academy (University of Arts Helsinki) as Professor of artistic research since 2007. His research focuses on the deconstruction of the performing body both in theory and in practice. Since 2008, he has conducted a collective research project “The Actor’s Art in Modern Times” on the psychophysical actor training. He is the responsible leader of the “Doctoral Programme of Artistic Research” (Theatre Academy, Academy of Fine Arts, Sibelius Academy & Aalto University), as well as “Asian Art and Performance Consortium” (Theatre Academy Helsinki & Academy of Fine Arts). Kirkkopelto has published widely, e.g. Le théâtre de l´expérience. Contributions à la théorie de la scène (Presses de l´Université Paris-Sorbonne 2008). He is a core-convener of Performance Philosophy Association and a member of the editorial board of Theatre, Dance and Performance Training.

Anja Klöck (Schauspielinstitut “Hans Otto”, Hochschule für Musik und Theater Leipzig)

Anja Klöck is professor of Drama at the University of Music and Theatre “Felix Mendelssohn Bartholdy” in Leipzig, Germany. She has taught at the Universities of Minnesota (USA), Mainz (D), Vienna (A), Leipzig (D), and Munich (D) and has published widely on early twentieth century avant-garde theatre, theatre and politics, theatre and mediality, theatre historiography, and the history and theory of acting and actor training. She is also a trained theatre director and has been working as performer, dramaturge, and director.

Elina Knihtilä (Theatre Academy, University of the Arts Helsinki)

Elina Knihtilä is Professor in Acting at the Theatre Academy of the University of the Arts Helsinki. After graduating from the Theatre Academy Helsinki as a Master of Arts in Theatre and Drama she worked as a freelance actor for ca. twenty years doing several theatre roles at, e.g., Q-teatteri, Finnish National Theatre, and Ryhmäteatteri. She has also been the Chair of Q-teatteri’s board and participated in the artistic planning group of the international theatre festival Baltic Circle. Apart from theatre, Knihtilä has worked in film and television, of which she has been awarded the Jussi Price for the best female actress twice. She has also been part of the manuscript work group of several TV comedy series, as well as taught interaction and performing to companies and communities.

Alice Koubová (Philosophical Institute of the Academy of Sciences of Czech Republic)

Ph.D Alice Koubová is a Czech researcher, teacher and performer. She received her Ph.D in philosophy at the University Paris X and studied Non-theater and „(Inter)acting with the inner partner“ at the Academy of Performing Arts in Prague with Ivan Vyskočil. Currently, she works as a senior researcher at the Philosophical Institute of the Academy of Sciences of Czech Republic and as a teacher of „(Inter)acting with the inner partner“ and contemporary philosophy at the Department of Authorial Creativity and Pedagogy and the Faculty of Arts. She is director of an international project Philosophy in Experiment and cooperates with other institutions exploring performative philosophy (Philosophy on stage, University of Vienna; Mbody. Research in media, somatics, dance and philosophy, Freiburg; Soundcheck Philosophy and Philosophy Labor, Halle; physical theater, Prague). She authored eperiments at the borders of philosophy, improvisation and authorial presentation presented at Theatre on the Balustrade, Theatre Retízek in Prague and Festival Soundcheck Philosophie in Halle. She is author of Self-Identity and Powerlessness (Brill Publisher) and other books and articles.

Wanja Kröger (Institute for Performing Arts and Film, Zurich University of the Arts)

Wanja Kröger is Lecturer for voice and speech in theatre. He has been teaching at Zurich University of the Arts (ZHdK) since 2001. Wanja Kroeger is the Representative of the
Department for Performing Arts and Film in ZHdK’s Teaching and Learning
Committee, and Head of Committee for Teaching & Learning Qualification
Program of ZHdK. Engaged in several Research Projects at IPF-Institute for
the Performing Arts and Film, e.g.: “Die polykulturelle Schweiz am
Beispiel der Schauspielausbildung”. This project funded by Swiss National
Science Foundation is looking for the basic cultural differences in the
four National acting study programs.

Wanja has worked as a team member in all recent developing processes with
new curricula for acting students, such as: Turns towards competencies
(2004), Building up Bologna Curriculum with BA/MA (2008) and currently
Questioning the future of acting education at ZHdK – in this team Wanja is
one of the main responsible building up the new curriculum, due to start

Seppo Kumpulainen (Theatre Academy, University of the Arts Helsinki)

Dr. Seppo Kumpulainen first graduated from the University of Jyväskylä as Teacher of Physical Education in 1977. During the academic year 1982–1983 he completed movement studies at the Theatre and Film Academy (VITIZ), Sofia, and began to teach at the Theatre Academy Helsinki, where he has been teaching ever since, first as a lecturer, then as a senior lecturer, and from 2012 onwards as a university lecturer. Since 1995 he has worked as visiting lecturer at most theatre academies in the Scandinavian and Baltic region.
Kumpulainen is specialized in voice and movement, acrobatics and stage fighting. He has created approx. 60 stage fighting and movement choreographies for theatre performances.
-Articles: Kumpulainen, Seppo 2012. From sweat and tears towards sweat and harmony. Theatre, Dance and Performance Training Vol. 3(2), 2012, 229-241.
Areas of interest: Actor training, voice and movement, stage fighting, pedagogical development work.

Jarno Kuosa (The Actor’s Art in Modern Times, Theatre Academy, University of the Arts Helsinki)

Jarno Kuosa graduated from Theatre Academy in 2012 specializing in directing. He also holds a BA in drama studies from The Helsinki Metropolia University of Applied Sciences. In the past years, Kuosa has directed as a freelance director in various Finnish theatres (both institutional and free companies), as well as radio theatre. He has also worked for the radio at the Finnish Broadcasting Company YLE. Currently Kuosa is directing for the Kokkola Municipal Theatre. He has also been active in teaching in Novia Polytechnic in Vaasa as well as at the Theatre Academy Helsinki where he co-organized a master class for actor and director students in actor’s dramaturgy and collective rehearsal process in the autumn 2013. This course was based on acting techniques and corporeal dramaturgies that had been developed in “The Actor’s Art in Modern Times” research project.

Cecilia Lagerström (University of Gothenburg, Academy of Music and Drama)

Cecilia Lagerström is a director, artistic researcher and senior lecturer at the Academy of Music and Drama, University of Gothenburg, Sweden. She has a background in physical/laboratory theatre and has a PhD in Performance Studies at Stockholm University (2003) with focus on acting training at the Institutet för Scenkonst and the dimension of tacit knowing. Cecilia has been directing performance work since 1993 in theatres and other venues. She has a long term collaboration with the actress and tight rope dancer Helena Kågemark, at present under the label Alkemisterna (the Alchemists) based at Konstepidemin in Gothenburg. Since 2005 Cecilia has been active in the development of artistic research in the field of the theatre in Sweden. She has been leading several artistic research- and development projects both within the university and in the art field. Since 2008 she has been head of the research subject in performing arts at the Academy of Music and Drama and she is supervising several doctoral students. She is also supervising within the national research school in the field of the arts in Sweden. In addition to her pedagogical efforts in research education she has been responsible for the independent projects at the master programmes at the theatre department since 2008. Cecilia is regularly commissioned as an opponent, committee member and adviser in research contexts in different Nordic countries.

Tuija Liikkanen (Stockholm Academy of Dramatic Arts, Stockholm University of the Arts)

Tuija Liikkanen is Lecturer in Body and Movement at the Department of Acting in Stockholm Academy of Dramatic Arts (SADA). She has university studies in Drama-Theatre-Film, Literature and History of Art at Umeå University, a BFA degree in Programme in Dance Pedagogy from the College of Dance (what is now University of Dance and Circus), Stockholm, and MA studies in Practical Knowledge at Södertörn University.

I started to work with movement training for actors 1990 at the Department for Acting at the University of Tampere and since 2002 I have been employed at SADA. My first contact with theatre was more than forty-five years ago as a performer. Currently I identify myself primarily as a teacher even if I also work as a theatre choreographer.
In my teaching, I integrate theoretical knowledge with practice. My movement training focuses on ensemble work with a holistic/psychophysical perspective. That means integration of doing, thinking and reflecting. Some keywords that embody my work are: breathing, presence, focus, bodily communication and interaction/teamwork.
Body Mind Centering, Body Awareness, Contact Improvisation, Release technique and Viewpoints are examples of techniques which has been base of my teaching. Part of my practice is to work together with voice and acting teachers, embody the actors work.

Matej Matejka (Studio Matejka, The Grotowski Institute)

Matej Matejka is the leader and founder of Studio Matejka. He studied acting at the State Conservatory in Bratislava, Slovakia, later at JAMU University, Brno, Czech Republic. Working as an actor and co-creator with Theatre Studio Farm in the Cave, Prague from 2001–2006, projects and performances included Dark Love Sonnets, Journey to the Station and SCLAVI / The Song of an Emigrant. Since 2005, Matejka was been a collaborator of The Grotowski Institute where he is engaged in research of physical expression in the theatre. Actor and leader of physical training in Teatr ZAR theatre company, he performs in Gospels of Childhood, Cesarean Section and Anhelli, The Calling. Matejka leads his own work sessions “Wakening the Listening Body” at the Grotowski Institute, as well as with Teatr ZAR, both in Poland and internationally. In his work he searches for the performer’s “essence of communication” where both dance and drama are only vehicles for the actor’s expression.

Paulo Filipe Monteiro (Universidade Nova de Lisboa)

Paulo Filipe Monteiro is Full Professor of cinema, drama and fiction AT Universidade Nova de Lisboa. Chair of the M.A. degree on Performing Arts. Chair of the Masters program in Communication Sciences.
He published numerous articles and six books – Drama and Communication was awarded a prize for best book in 2010. He was invited professor at several Universities. He gave conferences and workshops in Europe, Brazil and USA. Last January, he organized in Lisbon the conference “Drama and Philosophy”.
Monteiro has directed 16 theatre shows, acted in 10 feature films and 39 TV films and series. As a scriptwriter, he wrote 7 feature films, selected to Cannes, Locarno, Venice and other major festivals.

Pia Muchin (University of Gothenburg, Academy of Music and Drama)

I am a lecturer in physical performance and have been employed since 1995 at the University of Gothenburg, Academy of Music and Drama – department of acting and theatre.

Over the years, I have examined the body position and expression in relation to virtual environments , conceptualization about my tacit knowledge and movement in theater from history and artistic expression in which I examined the difference between the Academy’s method and theory in relation to the professional theater normativity around the body and the performing arts .

I have just completed a collaboration with actor Gunilla Röör where I studied the actor’s own operating memory and archives as well as translation of the method to the character’s motion memory archives. In this study, we have created a theatrical story for film and theater – an interaction between the actor’s archives and the fictional role of Gertrude Stein and her movement memories. As a starting point, I have had Gertrude’s modernist ideas about art and design.

Simon Murray (School of Culture and Creative Arts, University of Glasgow)

Simon Murray teaches Theatre Studies at the University of Glasgow. He was ‘trained’ as a sociologist and spent the first 16 years of his working life employed in adult, trade union and labour movement education. As a theatre practitioner and academic the heart of his practice has been in devised movement and visual theatre/performance. He trained with Monika Pagneux and Philippe Gaulier in Paris in 1986/7. Before moving to Glasgow he was Director of Theatre at Dartington College of Arts. Over the last ten years he has published the first monograph on Jacques Lecoq (2003) and two books on physical theatres, co-written and edited with John Keefe (2007). More recently he has written on the quality of lightness in performance (Contemporary Theatre Review, 2013) and on the fictions of WG Sebald and contemporary performance (A Literature of Restitution: Critical Essays on WG Sebald, 2013). For the second edition of Actor Training (2010) he wrote an essay on the pedagogies of Jacques Lecoq, Monika Pagneux and Philippe Gaulier. He is currently working on a book on ruins and performance and a second edition of Physical Theatres: A Critical Introduction. Simon is co-founder and co-editor with Jonathan Pitches of the journal, Theatre, Dance and Performance Training.

Samuli Nordberg (Theatre Academy, University of The Arts Helsinki)

Samuli Nordberg began to dance as a young boy in a local youth folk dance group in Kaustinen, Finland. In 1998 an intensive hobby turned into a profession as he moved from the University of Helsinki Department of Physics to the Dance Theatre Aurinkobaletti in Turku, after which Nordberg achieved a BA in contemporary dance and an MA in choreography from Theatre Academy Helsinki.

He has worked as a choreographer and director of dance, theatre, opera, circus, as well as performed in a number of dance, theater, and opera productions. Nordberg is one of the founding members of The Tsuumi Dance Company co-operative where he also worked as the artistic director in 2007-2010.

At the moment, Nordberg researches collective group work patterns and collective intelligence in the context of performing arts. He focuses particularly on bodily communication and the transmission of meanings in the working group through non-verbal communication, and how inarticulate communication affects decisions in the working group.

Nordberg has participated in the research project “The Actor’s Art in Modern Times” since spring 2013.

Anna Pettersson (Stockholm Academy of Dramatic Arts, Stockholm University of the Arts)

Tiina Pirhonen (Theatre Academy, University of the Arts Helsinki)

Tiina Pirhonen is an actress. She got her MA in acting from Theatre Academy in 1988, and has worked there as Lecturer since 2004. Pirhonen has a long career in different Helsinki based theatres, e.g. The Finnish National Theatre, Helsinki City Theatre, Theatre Jurkka, Espoo City Theatre, theatre company Quo Vadis, as well as Stella Polaris Improvisation Theatre. Pirhonen has also acted in almost a hundred TV and cinema productions, as well as in radio plays. Her latest theatre productions from the Helsinki City Theatre include Ostrowsky’s The Forest (2012) dir. Juri Solomin (Malyi Theatre) and Nopola’s Eila, Rampe ja suolaparta (2013) directed by Katja Krohn. Tiina Pirhonen has been awarded several prizes, a “Venla” prize for The Best Actress in 2002, among others.

After her graduation from Theatre Academy she has studied, for instance, with Keith Johnstone, Tony Totino, Lennart Svensson, Helge Skoog, Shawn Kinley, Regina Saisi, Barbara Scott, Rafe Chase, Tim Orr, Rebecca Stockley, Sue Walden, Impropera, Brad Fortier, and Paul Z. Jackson.

Ceri Pitches (University of Leeds/National Media Museum)

Following a career in secondary education as a qualified drama teacher and subsequently in museum learning, I have returned to full-time study to pursue an AHRC Collaborative Doctoral Award with the Workshop Theatre and the Science Museum Group. Working in close partnership with the museums within the SMG, I am exploring sustainable approaches to the practical training of non-actors who deliver live interpretation in a science museum context, focussing on the potential contribution that specific performer-training methods might offer.

I am particularly interested in comparisons between modes of delivery of the science ‘explainer’ and of the epic actor, as well as the experiential and participatory role of the visitor or audience. I have a growing interest in how digital technologies may be harnessed as tools for interpretive training and how these might be employed in a practical, working context.

I am the Editorial Assistant for the journal Theatre, Dance and
Performance Training (Oxon and New York: Routledge)

Jonathan Pitches (School of Performance and Cultural Industries, University of Leeds)

Jonathan Pitches is Professor of Theatre and Performance and Director of Research for the School of Performance and Cultural Industries, University of Leeds, where he is also Leader of the Practitioner Processes Research group. He specialises in the study of European, Russian and American traditions of actor training and has wider interests in intercultural performance, digital technology and reflection, and practice-based research methodologies. He is co-founder and co-editor of the Routledge Journal: Theatre, Dance and Performance Training and has written and/or edited several books in the field. In 2014 he will lead one of the first massive open online courses related to performance and training in the world. He is currently working on two large projects: a global perspective on Stanislavsky’s influence in the World and a performative analysis of mountains.

Anton Rey (Institute for Performing Arts and Film, Zurich University of the Arts)

Anton Rey is artistic researcher in Film, Dance and Drama. Since 2002 he has been Professor at the Department of Performing Arts and Film, Zürich University of the Arts (ZHdK) and, since 2007, Head of the Institute for the Performing Arts and Film (IPF) . He has studied Theatre and German Literature in Zürich and Berlin, and has numerous stage and film productions in Zürich, Berlin, Paris, Edinburgh, Munich, and Vienna.
Selected Publications:
– Consciousness performed. Transformation of Consciousness: Potentials for Our Future. Dagmar Eigner (ed.) Thomas Grunwald (Department of Neurology, University Hospital Zürich, and Swiss Epilepsy Centre, Zürich, Switzerland), Martin Kurthen (Swiss Epilepsy Centre, Zurich, Switzerland), Anton Rey (IPF)
– 75 Jahre Schauspielschule in Zürich — vom Bühnenstudio zur Zürcher Hochschule der Künste. Geschichte und Gegenwart der Schauspielausbildung in Zürich 1937 bis 2012. Herausgegeben von Hartmut Wickert, Anton Rey. 172 Seiten, Fadenheftung mit Softcover, 95 Abbildungen. Zürich 2012: DDK, ZHdK.
– Wirkungsmaschine Schauspieler – Vom Menschendarsteller zum multifunktionalen Spielemacher. subTexte 06. Mit Beiträgen von Jens Roselt, Heiner Goebbels, Herbert Fritsch, Hajo Kurzenberger, Joachim Meyerhoff, Bernd Stegemann, Hans-Jörg Rheinberger, Franz Wille u.a. Zürich 2011
– Künstlerische Forschung – Positionen und Perspektiven. subTexte 03. Mit Beiträgen von Dirk Baecker, Henk Borgdorff, Sönke Gau/Katharina Schlieben und Alfred Nordmann. Zürich 2009

Jukka Ruotsalainen (Theatre Academy, University of the Arts Helsinki)

Jukka Ruotsalainen is an actor and a director who currently works as Lecturer at the Theatre Academy, University of the Arts Helsinki where he teaches acting, movement and dance. After finishing his MA at Teak in 2002, Ruotsalainen has worked extensively in various theatre companies in Helsinki. His work includes more than 30 productions of theatre, dance and musical theatre.
Areas of interest: acting, movement and dance, musical theatre

Kent Sjöström (Malmö Theatre Academy, Lund University)

Kent Sjöström has been teaching at the Malmö Theatre Academy in Sweden since 1984. With his stepoff point in movement training, his main field of interest has been the physical action in connection with the actor’s cognitive strategies. This is also the subject of his PhD in Theatre Arts: The Actor in Action – Strategies for Body and Mind (2007). His current research investigates how changes of bodily representation in the performing arts could be connected to a discussion about ideologies, society and language.

Sarie Mairs Slee (Studio Matejka,Grotowski Institute)

Sarie Mairs Slee is a Senior Lecturer In Physical and Dance Theatre at the University of Salford (Manchester, UK) and Associate Head of School- Engagement for the School of Arts and Media. Since its formation in 2010, Slee has worked with Studio Matejka as the lead academic and collaborating artist and pedagogue. Originally hailing from the USA, Slee is a trained musician and contemporary dancer with a BFA in Modern Dance and an MA in European Dance Theatre from the Laban Centre in London. She worked as a performer and workshop leader with the prestigious Liz Lerman Dance Exchange in Washington DC before emigrating to the UK in 2003. She is the artistic director of …and maryanne flies away dance company. A practicing artist and researcher, Slee is also the founding director of The Hive at St. Johns, an organization working to transform a closed historic church in Salford into a centre for creativity, culture and the arts.

Anna Thuring (Theatre Academy, University of the Arts Helsinki)

Anna Thuring (former Kurkinen) has a Ph.D. in Theatre Research from University of Helsinki, although a great part of her research has taken place in United Kingdom, France and United States. From 2008 on she has been an Affiliated Researcher at Theatre Academy Helsinki where she is currently a research fellow in a four year research project Shifting Dialogues – Asian Performance and Visual Arts. She is also a founding member of the Asian Art and Performance Consortium that initiated the research project, as well as a convener of a research group that explores Asian influences in the Finnish theatre and dance. In her research, she specializes in Western physical theatre and cultural flows between Asian and Western theatre, dance and training. In her methodology, she fuses practical training –from both her own experiences and observation and interviews of professional performers– and theoretical and historical approaches. Dr. Thuring lectures both at Theatre Academy and at several Finnish universities on both Eastern and Western performance traditions. She has also been involved in creating practical physical theatre courses and curricula. She supervises doctoral projects at Theatre Academy Helsinki and acts, on a regular basis, as an external evaluator for both artistic and theoretical student projects.

Hannu Tuisku (Theatre Academy, University of the Arts Helsinki)

Hannu Tuisku is an educator and director. He is a doctoral candidate and project researcher at the Theatre Academy. His primary interest in research is in actor training methods and their applications in youth theatre education. He is currently working on a project that seeks to establish a series of workshops in embodied acting pedagogy in professional theatres. He is Lecturer in Theatre Studies at Kallio Upper Secondary School of Performing Arts, Helsinki. He is also interested in multidisciplinary performance. Tuisku has participated in the research project “The Actor’s Art in Modern Times” since 2008 and he is currently a member of Research Group in Interdisciplinary Improvisation that works also as a performance group.

Jeungsook Yoo (East 15 Acting School, University of Essex)

Dr. Jeungsook Yoo is a Korean actor, actor trainer, director and researcher. She is a co-founder of a theatre company, Theatre P’yut, which explores East-Asian aesthetics in relation to developing its own theatre works.
She utilizes Asian bodymind disciplines for her creative process as an actor and director. Her practice includes DahnHak, a form of Korean meditation, traditional Korean dance and Phillip Zarrilli’s psychophysical performer training method which involves Indian yoga, Indian martial arts, kalarippayattu and Chinese martial arts, taichi-chuan.
Currently she is Head of BA World Performance Course, East 15 Acting School, University of Essex.