TEACHING
My teaching activities are diverse, ranging from university students to children. I am currently a guest lecturer at East 15 Acting School in London, where I teach a course in physical theater, and I have also held acting workshops in Japan, the US, Poland, and Italy, among other places.
I believe that teaching theater to young people not only provides them with stage skills but also develops key life skills (communication, empathy, self-confidence), helping my students become confident and empathetic adults.
As a university lecturer, I use a special physical theater training method that focuses on analyzing characters and relationships using physical techniques. The techniques I use are based on the mutuality exercises developed by the Gardzienice Theater in Poland.
My 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 my method is rhythm, contact, and acrobatic exercises, as well as ensemble building.
TEACHING
My teaching activities are diverse, ranging from university students to children. I am currently a guest lecturer at East 15 Acting School in London, where I teach a course in physical theater, and I have also held acting workshops in Japan, the US, Poland, and Italy, among other places.
I believe that teaching theater to young people not only provides them with stage skills but also develops key life skills (communication, empathy, self-confidence), helping my students become confident and empathetic adults.
As a university lecturer, I use a special physical theater training method that focuses on analyzing characters and relationships using physical techniques. The techniques I use are based on the mutuality exercises developed by the Gardzienice Theater in Poland.
My 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 my method is rhythm, contact, and acrobatic exercises, as well as ensemble building.