Irwin Appel is Professor of Theater and Director of the Bachelor of Fine Arts (BFA) Actor Training Program at University of California Santa Barbara.  He is also a professional director, Equity actor and composer/sound designer, and has performed with Shakespeare Santa Cruz, Shakespeare Festival/LA, the New York, Oregon, Utah, and Colorado Shakespeare Festivals, The Acting Company, Theatre For a New Audience, Hartford Stage, Indiana Repertory Theatre, and other prominent regional theatres.  He has directed throughout the United States, including two seasons at the National Theatre Conservatory at the Denver Center for the Performing Arts. He has also served as composer/sound designer for the Oregon and New Jersey Shakespeare Festivals, Arizona Theater Company, Shakespeare Santa Cruz, PCPA, Ensemble Theatre, Pan Asian Repertory, Indiana Repertory, and other regional and local theatres. He is a graduate of Princeton University and the Juilliard School.

Peter Ender is head of the actor training programme at the Zurich University of the Arts.

Marc 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.

Rudolfo Garcia Vàzquez is one of the founders of the SP Escola de Teatro. Rodolfo is the present Coordinator of the Directing Department of the institution. In 2014, started his PHD at Universidade de São Paulo, with a research phocused in Augmented Theater, and the impact of the new technologies in the development of theater in the 21st century. Founder of Os Satyros Theater Company, he has directed over 70 theater productions, with several national and international awards. Among his main works as director, “Philosophy in the Boudoir” (adapted from the Marquis de Sade, 1990 ), “A Vida na Praça Roosevelt” (Dea Loher, 2005) and “Roberto Zucco” (Bernard- Marie Koltès, 2009). Just directed his first feature film, “Hypothesis for Love and Truth”.

Paulina Hulkko, Dr., 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.

 Malgorzata Jablonska (Jagiellonian University, Grotowski Institute and Chorea theatre collaborator) 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.

Helena Kågemark is an actress and tight rope dancer with a long experience from different theatres and circus performances. She has also produced her own performances and artistic development projects during the years. For several years she has participated in the international performing arts network X-project with the residency-project Imagine. Helena has also worked as a pedagogue for many years, in various educational contexts. She has a long term collaboration with the director and researcher Cecilia Lagerström.

 Julia Kiesler has studied speech science at the Martin – Luther – University Halle/Germany. She was a lecturer for voice and speech at the University of Music and Theatre in Leipzig, Germany, and worked as a voice coach at the theatre. Since 2005 she is professor for voice and speech in theatre, teaching at Bern University of the Arts. Since March 2014 she is head of the 3-year research project: „Methods of rehearsing spoken language in contemporary German theatre“, funded by the SNF.

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.

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 Dr. Seppo Kumpulainen (1952) has worked in the Theatre Academy Helsinki* as a Senior Lecturer since 1985, University Lecturer in 2012, Professor in 2014 and from 1995 as a visiting lecturer at seven Theatre Academies in Scandinavia and in the Baltic countries. Dr. Kumpulainen has created about 60 stage fight choreographies; the two latest of which were for The Robin Hood Opera in 2011 performed in the Finnish National Opera and Hamlet in 2012 in the City Theatre of Helsinki. Articles: Kumpulainen, Seppo 2012. From sweat and tears towards sweat and harmony. Theatre, Dance and Performance Training Vol. 3(2), 2012, 229-241. 2011 Doctor of Arts (Theatre and Drama); Completed Movement studies at the Theatre Academy (VITIZ), Sofia, study year 1982 – 1983; Graduated as Teacher of Physical Education, University of Jyväskylä, 1977. Areas of focus: Actor training, voice and movement, stage fights, pedagogical development work.

Rick Kemp (aka Rick Zoltowski) has over thirty years of international experience as an actor and director, receiving the Institut Français award, the British Telecom Innovations Award, and the Heinz Endowments Creative Heights Award. He was the co-founder and Artistic Director of Commotion in London from 1990 to 1998, and has worked with companies and theatres such as the Almeida, 1982 Co., Complicite, Riverside Studios, Tricycle Theatre, and Traverse Theatre in the UK, with Quantum, the Pittsburgh Playhouse, 404 Strand, and Squonk Opera in the USA, and Madrid’s Festival de Otono, Warsaw’s Teatr Polski, and the Bouffes du Nord in Paris. He holds an MA from Oxford University, and an MFA and a PhD from the University of Pittsburgh. Rick is a Professor at Indiana University of Pennsylvania, and the author of Embodied Acting (Routledge, 2012), and the co-editor of The Routledge Companion to Jacques Lecoq (Routledge, forthcoming).

Cecilia Lagerström is a director and artistic researcher with a background in laboratory theatre. She is also working as a senior lecturer at the Academy of Music and Drama, University of Gothenburg, Sweden. Cecilia 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. 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, and since 2008 she has been head of the research subject in performing arts at the Academy of Music and Drama. She is supervising several doctoral students and master students. Cecilia is regularly commissioned as a lecturer and workshop leader, but also as an opponent, committee member and adviser in research contexts in different Nordic countries.

Oliver Mannel coming soon

Bernd Medek coming soon

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.

Annika Notér Hooshidar Senior lecturer Contemporary Dance, School of Dance and Circus, University of the Arts, Stockholm.


1979                        Graduated in in dance pedagogy 180 ECTS,

1979-1980           further dance studies in New York, contemporary dance and ballet

2009/2010           master courses University of Stockholm, institution of pedagogy and didactics.

2010- 2014          Ph.D. candidate, University of Stockholm, institution of pedagogy and didactics

Professionell dance career

1980-1990           professional dancer contemporary dance and musicals (Cats, Chorus Line)

Teaching experience

1993- 2011      Contemporary Dance technique classes, University of Dance and Circus Stockholm and Ballet academy Stockholm

2004-                   Dance didactics, tutoring exam work and vocational training, University of Dance and Circus, Stockholm

2003-2010       Head of Bachelor program in Dance Performance, University of Dance and Circus, Stockholm

2012-                  Head of contemporary dance at the institution for pedagogy, University of Dance and Circus, Stockholm

Jonathan Pitches 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.

Claudia Rastetter has studied speech science at the Martin-Luther-University Halle/Germany. Since 2003 she has taught at different art academies as lecturer for voice and speech, but she also trained actors and singers at different theatres. Since March 2014 she works as a researcher for the Bern University of the Arts, investigating the developement of different manners of speaking in staging processes in contemporary German – speaking theatre.

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.

Yvonne Schmidt is Research Associate at the Zurich University of the Arts, Institute for the Performing Arts and Film and a lecturer at the Institute of Theater Studies, University of Bern. She holds a Ph.D in Theatre Studies at the University of Bern. Her dissertation on non-professional actors in different theater fields (Amateure, Experten, behinderte Darsteller. Chronos Verlag 2015) explores the intersections of everyday life performances and acting theories as well as Theater Studies and Disability Studies. Currently, Yvonne’s research focusses on methodologies to investigate (collective) creative or rehearsal processes. She was a Research Fellow at the University of Illinois, Chicago from January to October 2012. Since 2011, she has been the co-convener of the Working Group ‘Performance & Disability’, part of the International Federation for Theater Studies (IFTR). She is head of the Swiss National Science Foundation (SNSF) funded research project “Today’s Festival” at the Zurich University of the Arts and a member of the Work Group „Enabling Performance“ of the Hemispheric Institute of Performance & Politics.

Laura Sipilä (1983) has worked in Theatre Academy Helsinki as Lecturer in Acting (Voice and Speech) since 2011. Graduated as a Master of Philosophy and a Vocologist from The University of Tampere in 2011. Articles: Bele I.V, Laukkanen A-M, Sipilä L. Effects of a three week vocal exer-cise program using the Finnish Kuukka exercises on the speaking voice of Norwegian broadcast journalism students. Logopedics Phoniatrics Vocology. 2010, 35 (4): 150-165. Posters: Has the impression of male actors voice quality changed in 30 years? Sipilä, Laukkanen, Syrjä. 8th Pan European Voice Conferense, PEVOC, Dresden, Saksa 26.- 30.8.2009. Areas of focus: Actor training, voice and speech.

Kent Sjöström has worked as an instructor – mainly in movement – at Malmö Theatre Academy since 1984, but has also been teaching regularly at theatre academies in the Nordic countries. In 2007 he completed the first Swedish PhD in Theatre in the field of artistic research, and is now the head of artistic research at the Malmö Theatre Academy. His current research concerns the field of how the working actor conveys ideology and theory, mainly with tools taken from Brecht’s theories.Since 2010 he has also been running The Theory and Practice of Theatre, a new educational programme combining approaches from Theatre Studies with artistic work.

Tiina Syrjä D.A. (Theatre and Drama) University Lecturer in Voice and Speech in School of Communication, Media and Theatre, University of Tampere, Finland. She has worked over 25 years with stage voice and speech and is also a speech therapist (MA degree in logopedics, University of Helsinki 1989), certified teacher of the Alexander Technique (The International School for the F. M. Alexander Technique, Hamburg 1991) and Integral Hatha Yoga (Advanced Level, Integral Yoga Institute, San Francisco 2014).

Ana Wegner, Doctorante à l’Université Paris VIII (en co-tutelle avec l’Université de São Paulo), sa thèse est financée par la CAPES (Coordenação de Aperfeiçoamento de Pessoal de Nível Superior), organisme brésilien de soutien à la recherche. Ses recherches portent sur l’enseignement des techniques de la voix au théâtre et ses enjeux. Comédienne et diplômée d’une licence en Pédagogie des Arts de la Scène, elle a animé plusieurs ateliers de théâtre au Brésil et en France.

Hartmut Wickert, Director of the Departement Performing Arts and Film, Zurich University of the Arts.


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