My teaching practice focuses on basic principles in acting through the lens of physicality and the use of imagination. My work is based on the notions of engagement, receptiveness, simplicity, openness, preciseness, playfulness, and awareness.
At the core of my teaching is how physical actions as primary expressions can emerge from the connection between intent, imagination, and body awareness.
I combine different embodied, psycho-physical theatre approaches with the emphasis of the techniques developed by Jerzy Grotowski and Michael Chekhov. I borrow ideas and exercises from the works of K. Stanislavsky, J. Lecoq, R. Laban, the Viewpoints technique, and my own teaching and theatre experiences.
I do individual coaching, and also lead group training sessions in person as well as online.
Main themes of practical workshops:
-Basic means of expression – the physical action and its qualities
-The actor’s body – awareness, meaning, and inspiration of movements
-Training the imagination as our primary source of inspiration
-Training the attention as our primary source of engagement
-Form and freedom - receptiveness, impulsiveness, spontaneity
-Connections in acting – oneself, partners, environment, audience
-Characterization through the lens of physicality and imagination.
See my upcoming courses here
Main themes of individual coaching:
-Training on performative skills for personal development
-Building a personal actor-training structure
-Working on specific performative needs or aims
-Preparing for a role or an audition
To book personal online sessions:
My current 3-year research program (2020-2023) is about developing a daily, individual actor training method, as the base of ongoing professional development.
Through this project, I am investigating different acting and actor training approaches (those of Michael Chekhov, Jerzy Grotowski, K. Stanislavski amongst others), and experimenting with both existing and newly invented training ideas in order to find a regular training structure for improving basic skills in acting, working on individual needs and aims as well as the necessities and possibilities of the 21st century performance.
This project was awarded with a scholarship grant from the Hungarian Arts Academy (MMA 2020-2023)
Other important concepts and research areas:
-Complete engagement of Thought, Movement, and Voice
-Ensemble training – listening, reacting, being part of the whole
-Individual work – self-reflection and self-improvement
-Theatre genres as different approaches in acting
-Being seen – the effects of the audience
-Connection between training and rehearsal
Working on Michael Chekhov's Psychological Gesture as a tool for characterization
Online workshop for BA Acting students at Babes-Bolyai University of Cluj (Romania)
Relexation and Concentration: self-training practices on awareness, focus, tension, and release of the body-mind.
Open online training sessions working with practises of K. Stanislavski, M. Chekhov, J. Grotowski, and J. Lecoq, 21/11-19/12/2020
Basic means of expression and characterization
Online workshop, 25-26/07/2020
Imagination and Physicality: Tools for training and performing for the individual actor
Online performative training course - 6 weeks online drop-in training program via Zoom, 06-07/2020
Individual training structures
Workshop for the Company Chance of the Hunter, Budapest, 02/2020
Attention and Presence
Open workshop based on Michael Chekhov and Jerzy Grotowski - Juranyi House, Budapest, 12/2019
Pathways to textwork
Workshop for the Company Chance of the Hunter, Budapest, 12/2019
Physical Theatre workshop
Open workshop based on J. Grotowski and Viewpoints on the connection to our body and the space around us - Istanbul, Turkey, 09/2019
Spatial awareness, means and ways of using the space
Open workshop - Juranyi House, Budapest, 12/2018
Ensemble work and individual development
Acting courses based on J. Grotowski - E15 Acting School, England, 2017
Introduction to the technique of Michael Chekhov
Sin Cultural Centre, Budapest, 2016