Gisela Cardenas is a Professor at Barnard College with extensive international experience training theater professionals and directing productions across Europe and the Americas. Her pedagogical approach integrates physical theater techniques with textual analysis, focusing on classical works, devised theater, and multimedia collaborations. Education: B.A. Social Sciences M.A. Performance Studies, New York University M.F.A. Directing, Columbia University Teaching emphasizes: Fundamental acting techniques integrating Lecoq, Mnouchkine, and Stanislavsky methods Physical approaches to Shakespearean text Contemporary reinterpretation of Chekhov using Viewpoints technique Cross-cultural adaptations of Greek tragedy She founded InTandem Lab in 2015 to develop innovative performance projects bridging traditional and experimental theater forms.
Professor Anna McNamara is a leading academic and educator at the University of Surrey, serving as Director of Internationalisation at the Guildford School of Acting (GSA), part of the Faculty of Arts, Business and Social Sciences and affiliated with the Surrey Institute of Education. She holds the academic rank of Professor and has previously held key leadership roles including Director of Learning and Teaching and Interim Head of School. Her work spans actor training, inclusive pedagogy, crisis management, and gender equity in the creative industries. PhD in Contemporary Actor Training, University of Surrey MA in Education BA Theatre Studies, Rose Bruford College Diploma in Dance Education (DDE), ISTD Qualified Teacher Status (QTS), University of Gloucestershire Anna’s research focuses on transformative pedagogies in performing arts education, with an emphasis on inclusivity, student voice, and decolonising curricula. She has pioneered initiatives such as the Be the Change digital conference and book series, which bring together global experts to reimagine actor training. Her work integrates playful learning, flipped classrooms, and intimacy coordination into conservatoire education. Her recent publications include edited volumes such as Actor Trainers on Acting: for the Twenty-First Century (Routledge, 2024), Inspire: Learning for Teaching in Higher Education (Nova, 2024), and the groundbreaking The Women Who Shaped UK Actor Training (Routledge, 2024), which centers the contributions of women in UK drama education. Her articles explore themes of lived experience, crisis leadership, and gender empowerment, reflecting a strong interdisciplinary and action-oriented approach. Anna has received numerous accolades for her teaching and leadership, including: National Teaching Fellow (NTF) Principal Fellow of Advance HE (PFHEA) Fellow of the Royal Society of Arts (FRSA) University of Surrey Vice Chancellor’s Award for Teacher of the Year (2017) Finalist, Creative Businesswoman, Great British Businesswoman Awards (2023/24) She actively supervises PhD candidates in theatre and dance, has served on multiple university and faculty committees, and acts as an external examiner for institutions across the UK. Her outreach includes national inclusion projects with Get Into Theatre and The Mousetrap Foundation, supporting underrepresented youth in accessing creative careers. She also chairs a primary school governing board and is involved in LIPA Sixth Form College’s local governance. Anna leads the GSA People’s Network initiative to diversify staff recruitment and has developed mental health training with Mental Health England. She founded the GSA Gillian Lynne Choreography Competition and other student voice initiatives, reinforcing her commitment to student empowerment and institutional change.
Jennifer McCabe is an Associate Professor at the City University of New York at Lehman College and an Adjunct Professor at NYU Tisch UGFTV and Drama. With 34 years of experience in acting, teaching, and directing, she has performed over 80 roles including ten lead characters Off-Broadway at prestigious theaters such as Cherry Lane, Atlantic, and Barrow Group. Her television credits include recurring roles on NBC's Manifest, Blindspot, and Law & Order series, CBS's FBI: Most Wanted, and FX's The Americans. As a second-generation Lee Strasberg acting teacher, McCabe specializes in foundational acting techniques derived from Stanislavski, Strasberg, Adler, Meisner, and Hagen. Her unique teaching methodology includes the "Jump Then Justify®" character development workshop and "Top Ten Screen Acting Tools" for on-camera performance. She has developed transformational approaches to actor training that emphasize emotional authenticity, impulse, and intention in performance. McCabe maintains a vibrant teaching practice through Jennifer McCabe Studios in the Hudson Valley, offering regular classes, intensives, and retreats. Her "Fireside Fridays" gatherings create community spaces for artists to discuss their craft. She has also served as a Visiting Professor at SUNY Purchase, The New School for Drama, AMDA, and as a Guest Artist at SUNY New Paltz and Vassar. Notable actors who have studied with McCabe include Miles Teller (Top Gun: Maverick, Whiplash), Lev Gorn (The Americans), and Julie Reiber (Come From Away). She is currently directing the Off-Broadway premiere of Sea Glass for summer 2025 and will be teaching screen acting at Westchester Collaborative Theater in fall 2025.
Lisa Peck is an Associate Professor in Theatre and Performance at the School of Media, Arts and Humanities, University of Sussex. She holds a PhD (2017) and MA in Actor Training from Royal Central School of Speech and Drama, where she currently serves as an Associate Lecturer. Her work centers on critical acting pedagogies, feminist theatre, and immersive performance practices. Education: PhD at University of Sussex (2017), MA from Royal Central School of Speech and Drama Affiliations: University of Sussex, Royal Central School of Speech and Drama, RAPT theatre company Her research addresses the underrepresentation of women in traditional actor training lineages and the development of liberatory pedagogical approaches. She explores experimental theatre-making, voice/movement integration, and digital educational resources in collaboration with institutions like Digital Theatre Plus. Her recent publications include books and chapters on Stanislavsky's method as feminist practice, critical acting pedagogies, and Emma Rice's collaborative theatre. She serves as Associate Editor for Theatre, Dance and Performance Training (2022) and contributes to professional discourse through symposia and consultancy roles at the National Theatre. Collaborations: with Bella Merlin, Sara Jane Bailes, Niamh Dowling Professional Roles: Co-Artistic Director at RAPT, National Theatre Consultant, Digital Theatre Plus Creative Learning Panel Lisa's teaching portfolio includes core modules in contemporary theatre practices, performance projects, and text interpretation for undergraduate drama students.
Dr. Lecturer Emre YALÇIN is a theater educator and researcher at Kafkas University's Faculty of Fine Arts, Department of Performing Arts. With a Ph.D. in Performing Arts from Dokuz Eylül University (2013-2019) and a Master's in Theater Criticism and Dramaturgy from Istanbul University (2002-2013), he has dedicated his career to exploring acting-directing methodologies, theater theory, and dramatic writing. His academic journey includes full-time research assistant roles at Dokuz Eylül University since 2014 and department chairmanship at Kafkas University from 2020 onward. Ph.D. in Performing Arts (Dokuz Eylül University, 2013-2019) Master's in Theater Criticism and Dramaturgy (Istanbul University, 2002-2013) Bachelor's in Information and Document Management (Istanbul University, 2002-2009) His research focuses on acting-directing techniques , theater theory , and dramatic writing , evidenced by publications analyzing William Forsythe's improvisation methodologies, Molière's tragicomedies, and postdramatic staging in contemporary European theater. The 15 most recent publications reveal a trajectory from classical drama analysis (Sophocles, Shakespeare) to modern experimental forms (post-musical theater, digital performance education). Scientific awards include multiple film festival recognitions (2020-2021) for creative works like Yağmur, Şnorkel ve Taze Fasulye , demonstrating his interdisciplinary approach blending academic research with artistic practice. He has led international projects like Erasmus Art+ (2022) and served as consultant for Goethe Institute's cultural initiatives (2023-2024). Best Film Awards (2020-2021) Erasmus Program leadership UNESCO-supported project involvement Currently teaching 16 undergraduate courses in movement training, role interpretation, and stage composition (2023-2024 academic year), he continues to bridge theoretical research with practical training in performing arts education.
Virginie Magnat is a full Professor in the Faculty of Creative and Critical Studies at the University of British Columbia Okanagan . She additionally serves as the IGS Theme Coordinator for Community Engagement, Social Change, Equity and is a graduate student supervisor. Education Ph.D. in Drama and Theatre, University of California, 2003 D.E.A., English Department, Sorbonne/Paris III, France, 1993 Master’s in English and Theatre Studies, Sorbonne/Paris III, France, 1990 Foundation Year Program, University of King’s College, Halifax, Canada, 1985 International Baccalaureate, Lester B. Pearson United World College, 1984 Research Interests Her scholarly and creative work centres on Performance Studies , qualitative research methodologies , and Indigenous epistemologies . She explores arts-based inquiry , voice-body integration , and collaborative eco-cultural practices for collective healing and renewal . A committed activist for Occitan language revitalization , she interweaves post-qualitative, Indigenous, and posthumanist frameworks to advance decolonizing research and pedagogy. Research & Creative Trajectory Across her recent publications (2020–2024), Magnat traces a sustained engagement with the performative power of vocality , the Stanislavsky–Grotowski lineage , and Indigenous ethico-onto-epistemologies . Her work bridges critical theory, embodied practice, and intercultural performance, culminating in collaborative projects that position performance as a catalyst for environmental justice and Indigenous resurgence. Awards & Distinctions American Theatre and Drama Society Book Award – Honorable Mention (2020) Canadian Association for Theatre Research Book Award – Honorable Mention (2014) International Federation for Theatre Research New Scholar’s Prize (2001) Grants & Graduate Supervision She currently co-leads the SSHRC-funded “Radical Collaborations: Transformative Eco-Cultural Practices for Collective Healing and Renewal” (2024-27). Additional SSHRC grants include Insight, Connection, and Research/Creation awards spanning 2008-2018. Magnat has supervised numerous SSHRC-funded graduate students in interdisciplinary performance and Indigenous studies, including recent graduates Claire Fogal (PhD) and Mariel Belanger (MFA). Labs, Networks & Editorial Roles She is an Associate Editor of Theatre, Dance and Performance Training Journal , a Steering Committee member of the Institute for Performance Studies (SFU), and a founding member of the Indigenous Inquiries Circle linked to the International Congress of Qualitative Inquiry. Her research website virginiemagnat.space hosts further information on her projects and collaborations.
Harold Clurman (1901–1980) was an influential American theatrical director, drama critic, and educator. He taught at the New School for Social Research from 1933, founding courses like The World of Theatre , and later lectured at the Dramatic Workshop and Hunter College. A key figure in the Group Theatre (1931–1941), he directed seminal works by Odets, Miller, and O’Neill. As a critic for The New Republic (1948–1952) and The Nation (1953–1980), he shaped American theater discourse. His books, including The Fervent Years and All People Are Famous , cemented his legacy. Honored with the Legion of Honour and the George Jean Nathan Award, his influence persists through institutions like the Harold Clurman Theatre and the Harold Clurman Laboratory Theater Company.
Süleyman Karaahmet is an Assistant Professor at Anadolu University's State Conservatory, Department of Performing Arts. He holds a Competence in Art degree (2023) and a Master's in Theatre Arts (2018) from the same institution. Education 2019-2023: Competence in Art, Department of Performing Arts 2016-2018: Master's in Theatre Arts 1999-2003: Bachelor's in Performing Arts His research focuses on Traditional Turkish Theatre , Stanislavski System , and Cinema/Television Acting . His published works explore physical actions in acting, storytelling traditions, and director-actor dynamics in Turkish theatre. Recent articles analyze Levni miniatures in Ottoman theatre, improvisation in traditional performance, and modern adaptations of Chekhov's plays. Awards include the XXIV Direkler Arası Seyirci Ödülleri (2024). He also serves as a dramaturg, director, and actor in professional productions.
Prof. Dr. Renata Agostini is a Full Professor at the Academy of Arts of the University of Banja Luka, specializing in Acting and Drama Direction . Her academic role is tied to the Department of Acting and Drama Direction, where she contributes to both undergraduate and graduate programs. Her research focuses on theatrical movement, body expression in acting, and the integration of physical techniques into performance . Agostini has led numerous award-winning productions, including Grand Prix for the monodrama 'Marso' and Silver Chestnut Award for 'Serbus Evropeikus' . She actively participates in international festivals and educational projects such as the Stanislavski International Drama School Meetings and the European Omnibus Project . Her work bridges theatre education, cultural representation, and experimental performance. Her recent publications explore mask techniques, yoga in acting, and choreodrama . Agostini also engages in public cultural initiatives, such as directing national ceremonies and collaborating with European institutions like the Russian Dom Cultural Center . Education : Advanced studies in Drama and Theatre at leading institutions, including GITIS, Moscow. Grants & Awards : Multiple festival awards for choreography and ensemble performance, including the Dobrica Stefanović Award . Lab/Teams : Leads the Academy of Arts Theatre Lab , collaborating with the National Theatre of Republika Srpska . Future Works : Ongoing research on intercultural performance and preparations for new international festival participations.
Dr Darren Daly is a Lecturer and Programme Leader for the MA in Screen Acting at the University of Salford's School of Arts, Media and Creative Technologies. With 20 years of professional acting experience across stage, screen, and digital media, he operates as a practitioner-researcher integrating industry practice with academic training. His educational background includes: BA (Hons) Performance & Media Arts (1996-1999) Graduate Diploma in Acting (2003-2004) MA in Text & Performance (2008-2009) PhD in Dramatising a Learning Theatre (2016-2020) Daly's research centers on actor training methodologies for digital performance contexts. Key interests include applying Stanislavski's tempo-rhythm to screen acting, adapting Michael Chekhov's techniques for motion capture, and developing industry-higher education collaborative training models. His work examines how actors maintain psychological presence and physical expressivity when performing with emerging technologies like Unreal Engine. Recent publications reveal a cohesive research trajectory exploring the intersection of traditional acting techniques with digital performance tools. Daly investigates temporal dynamics in screen acting, actor-camera intimacy, and virtual body representation through motion capture systems. His outputs consistently address practical training applications while theoretically engaging with performance philosophy and technology studies. Daly actively supervises PhD students on actor training, screen performance, and motion capture topics. As Programme Leader for the MA Screen Acting, he shapes curriculum development emphasizing industry-relevant skills through partnerships with regional theatres and technology companies. His affiliation with the Creative Technology Research Centre facilitates interdisciplinary collaboration on digital performance innovation.
Jonathan Kitt serves as Assistant Professor of Scene Study and Acting in the Department of Performing Arts at Emerson College, with prior appointments at Clark Atlanta University and the University of West Georgia. A professional actor and director with over thirty years of experience, he holds active memberships in AEA, SAG-AFTRA, and ECCAAUP. His academic credentials include: B.A. from Clark Atlanta University M.F.A. from The Theatre School at DePaul University Professor Kitt's research pioneers the integration of Black Acting Aesthetic and Drama of Being frameworks with Stanislavski System techniques. This methodology cultivates comprehensive theatrical understanding while advancing acting practice within diverse communities. His pedagogy emphasizes artistic integrity, professional rigor, and vital connections between lived experience and artistic expression. Professional recognition includes: Kennedy Center American College Theatre Festival (KCACTF) Region IV Excellence in Directing Award Two-time Audelco Award Nominee for Best Actor As an educator, Kitt focuses on mentoring emerging performers through rigorous scene study and acting instruction, fostering both technical mastery and personal artistic development within Emerson's Performing Arts program.
Jean-Manuel Warnet is a Lecturer in Theatre Arts Studies at the University of Brest, associated with the Heritage and Creation in Text and Image (EA 4249) laboratory. He specializes in theatrical research, creative writing pedagogy, arts in public space, and interdisciplinary collaborations between arts and sciences. Théatre Studies Creative Writing Arts in Public Space Arts-Sciences Interdisciplinarity Research-Creation Methodology His research focuses on theatrical laboratories, site-specific artistic practices, and the intersection of performance with urban environments. He co-founded the innovative "Licence Arts" program at UBO (2011-2017) and teaches courses in dramatic literature, performance theory, and cultural management. His recent publications analyze research-creation epistemology and interdisciplinary pedagogy. Selected publications reveal sustained interest in theatrical experimentation (1990-2021), with emphasis on creative processes, site-specific writing, and the role of laboratories in artistic research. He collaborates with the BeBest International Associated Laboratory and co-authored works on Arctic artist residencies. Active in both academic and professional theatre spheres, Warnet directs performances, conducts workshops with regional conservatories, and participates in national research networks. He maintains the Scriptorium Brest blog and is involved with Brest's Maison du Théâtre.
Dr Evi Stamatiou serves as Senior Lecturer in Acting for Stage and Screen and Course Leader for the MA/MFA program at the University of East London's School of Arts and Creative Industries, leveraging over two decades of international experience as a practitioner-researcher in actor training. Her academic credentials include a PhD in Actor Training and Direction from The Royal Central School of Speech and Drama (2013-2021), MA in Theatre Directing from UEL, MA in Arts Policy and Management from Birkbeck College, and certificates in Filmmaking and Acting for Film from the New York Film Academy. Her research pioneers critical acting pedagogy through intersectional frameworks, focusing on decolonizing methodologies, anti-racist praxis, inclusive techniques for second-language actors, and social representation analysis in comedy. This work directly challenges traditional canons while developing innovative studio practices. Analysis of her 15 most recent publications (2019-2024) reveals consistent thematic evolution toward decentering power structures in actor training, with increasing emphasis on intersectionality, pandemic-era adaptation, and screen-specific methodologies – all grounded in materialist and feminist theoretical approaches. Senior Fellow of the Higher Education Academy International awards for creative work Significant research funding for transnational projects As Chair of the Acting Programme at the Association for Theatre in Higher Education and Convener of TaPRA's Performer Training Focus Group, she leads sector-wide initiatives. Her transatlantic pandemic collaboration developed verbatim theater methodologies while directing the forthcoming Critical Acting Pedagogy: Intersectional Approaches (Routledge, 2024).
Live Hov is a Professor of Theatre Studies at the University of Oslo, affiliated with the Department of Culture, Religion, Asian and Middle Eastern Studies. Previously held the same position at the University of Copenhagen (2002-2007). Holds a Dr. philos from the University of Oslo (1998) and MA in Theatre Studies and Italian from the University of Copenhagen (1984). Trained as an actor at the National Theatre School of Oslo (1964-69), with additional singing studies in Denmark. Research focuses on European theatre history (particularly Greek/Roman theatre, Renaissance/Baroque periods), feminist theory, and Ibsen's staging history. Specialized in female performers in 19th century theatre, baroque opera, and Ibsen's theatrical legacy. Active in both academic writing and performance analysis. Education Highlights: Dr. philos, University of Oslo (1998) MA in Theatre Studies and Italian, University of Copenhagen (1984) National Theatre School of Oslo (1964-69) Research interests span historical performance studies, gender dynamics in theatre, and operatic traditions. Recent publications analyze Norwegian theatre's professionalization for women, baroque performance practices, and Ibsen's early productions across Scandinavia. Articles frequently bridge historical analysis with contemporary performance theory. Publications (selected 2000-2015) demonstrate engagement with both classical and modern theatre forms, including studies on Roman theatre's male dominance, Commedia dell'Arte, and HD opera transmission. No specific grants or awards noted in current materials.
Abbey Toot is an Assistant Professor of Theatre at Brevard College, specializing in acting, voice, and movement training. She teaches courses in Shakespearean performance, physical storytelling, and camera work while directing theatrical productions. Her pedagogical practice integrates breathwork and somatic techniques to explore connections between mental knowledge and bodily instinct, with a focus on the Miller Voice Method and Fitzmaurice Voicework. Education: M.F.A. in Acting (University of California, Irvine), B.S. in Theatre Performance with Minor in Languages (University of Evansville) Abbey's research investigates how breath influences vocal production, physicality, and interpersonal dynamics in performance. She is certified in multiple voice methodologies, including the Miller Voice Method (inaugural cohort), Linklater, and Knight/Thompson Speechwork, alongside training in Contact Improvisation, Michael Chekhov techniques, Stanislavski, Meisner, clowning, and The Emotional Body. Her practice emphasizes creating supportive structures for artistic immediacy and embodied creativity.
