Levko Esztella's teaching activities are diverse, ranging from university students to children. She is currently a guest lecturer at East 15 Acting School in London, where she teaches a course in physical theater, and has also held acting workshops in Japan, the US, Poland, and Italy, among other places.
She believes that teaching theater to young people not only provides them with stage skills, but also develops key life skills (communication, empathy, self-confidence), helping students become confident and empathetic adults.
As a university lecturer, she uses a special physical theater training method that focuses on processing stage characters and relationships using physical techniques. The techniques used are based on the mutuality exercises developed by the Gardzienice Theater in Poland. The goal is to make the body the primary tool of experience, where, after mastering a set of movements, impressions derived from physical experiences are incorporated into character development. In this way, physical experience stimulates psychological experience, creating an organic relationship between movements, dramatic text, and characters. An essential part of the method is rhythm, contact, and acrobatic exercises, as well as ensemble building.
Levko Esztella's teaching activities are diverse, ranging from university students to children. She is currently a guest lecturer at East 15 Acting School in London, where she teaches a course in physical theater, and has also held acting workshops in Japan, the US, Poland, and Italy, among other places.
She believes that teaching theater to young people not only provides them with stage skills, but also develops key life skills (communication, empathy, self-confidence), helping students become confident and empathetic adults.
As a university lecturer, she uses a special physical theater training method that focuses on processing stage characters and relationships using physical techniques. The techniques used are based on the mutuality exercises developed by the Gardzienice Theater in Poland. The goal is to make the body the primary tool of experience, where, after mastering a set of movements, impressions derived from physical experiences are incorporated into character development. In this way, physical experience stimulates psychological experience, creating an organic relationship between movements, dramatic text, and characters. An essential part of the method is rhythm, contact, and acrobatic exercises, as well as ensemble building.