David Zinder (Israel), Acting
A director, acting teacher and author, David Zinder served for many years as Head of Acting and Directing at Tel Aviv University and as the first Artistic Director of the University Theatre. His professional training began at the Theatre Arts Department of Tel Aviv University, followed by a BA in Drama at Manchester University and a PhD at the Drama Department of the University of California at Berkeley. Influenced by the work of Eugenio Barba and Joseph Chaikin, he developed his own unique system of actor training, ImageWork Training, which also has deep connections with the Michael Chekhov Technique.
Goh Lay Kuan (Singapore), Taichi & Meditation
Mdm Goh Lay Kuan co-founded Practice Performing Arts School with Kuo Pao Kun in 1965. Trained in ballet and a former ballerina at Victoria Ballet Company in Melbourne, she was among the pioneers in Singapore to bring together contemporary dance and Asian dance forms. A distinguished choreographer and arts educator, she received the Cultural Medallion in 1995 for her outstanding contribution to the arts in Singapore.
Jarrod Benson (Australia), Voice & Speech; Western Theatre Canon (Chekov, Shakespeare)
Jarrod Benson has taught voice at the National Theatre Drama School, Melbourne University, Swinburne University, Northern Metropolitan Institute of Tafe, Actor’s Lab and the Actor’s Showcase. He also runs his own workshops and private practices.
Jill Brown (Australia), Voice & Speech
Jill Brown was formerly a lecturer in acting and course advisor at the Department of Performance, School of Communication Arts, University of Western Sydney.
John Clark (Australia), Western Theatre Canon (Greek Theatre)
Director and educator John Clark was previously the Director of the National Institute of Dramatic Art In Sydney.
John Saltzer (Australia), Technical Theatre
John Saltzer, now retired, has worked as an actor, stage manager, stage director and production manager. He was for many years Head of Technical Production at the National Institute of Dramatic Art in Sydney.
Kok Heng Leun (Singapore), Acting; Improvisation/Individual Project/Post Modular Labs; Individual Project; Workshops (Biomechanics); and Mentor for i-Perform (November 2004)
Artistic Director of Drama Box, Kok Heng Leun has extensive experience in Mandarin and English plays, having directed some 40 plays. He has established Drama Box as one of Singapore’s leading theatre companies, known for works that address social issues relevant to Singapore society.
Kuo Jing Hong (Singapore), Movement; Improvisation/Individual Project/Post Modular Labs; Individual Project
A choreographer, director, performer and teacher, Kuo Jing Hong has a BFA (Dance) and BA in Psychology from the University of Iowa, which was later followed by an MA in Theatre from the University of Exeter. She has performed extensively and taught movement and dance in Singapore and the region.
Leow Puay Tin (Malaysia), Voice & Speech
Leow Puay Tin has been an active playwright and actress since 1981. She was the first to play the title role in Emily of Emerald Hill in 1984. She has also worked as a journalist and taught vocals at Akademi Seni Budaya & Warisan Kebangsaan (National Academy of Arts, Culture & Heritage), Malaysia. She currently heads the Department of Performance and Media at Sunway University College, Malaysia.
Ma Hui Tian (China), Acting; Chinese Speech; and Director, Tiger Tally (May 2003)
Ma Hui Tian, now retired, was senior professor at the Central Academy of Drama in Beijing and taught the Stanislavskian line of acting. He was the institute’s first recipient of their special academic award, and the Chinese government has recognised him as an eminent national expert.
Ong Keng Sen (Singapore), Director, Lim Tzay Chuen (November 2003)
Ong Keng Sen has been Artistic Director of TheatreWorks since 1988 and is now Artistic Director of performance space 72-13. Known for his interdisciplinary works, which have been presented at festivals and venues around the world, he directed the Tokyo premiere of Lear in 1997 to critical acclaim. Ong is the first Singapore artist to have received both the Young Artist Award (1992) and the Cultural Medallion Award (2003) for Singapore.
Pierre-Yves Charles Ernest Massip (France), Movement
Richard Emmert (USA/Japan), Noh Theatre; Arts & Culture of Japan
Richard Emmert is a certified Kita school Noh instructor, who has studied, taught and performed all aspects of Noh performance in Japan since 1973. He has composed or arranged music for, as well as directed and performed in, numerous English Noh plays. He teaches Asian Theatre and Music at Musashino University in Tokyo, and is the co-author of seven Noh Performance Guides published by Japan’s National Noh Theatre.
Robin Payne Papazoglou (New Zealand), Voice & Speech
In a career that has spanned over 40 years, Robin Payne has worked as an educator, director, voice coach, drama trainer and actor around the world. She was formerly Artistic Director of Toi Whakaari: New Zealand Drama School. Her exploration of indigenous theatre forms in New Zealand, Australia, Indonesia, Thailand and Greece has led to her strong interest in multilingual theatre, which draws on the cultures and backgrounds of the performers. Robin has trained at Sydney’s National Institute of Dramatic Art and studied with renowned figures in voice and theatre such as Cicely Berry and Jerry Grotowski. She also has a Certificate for the Advanced Course in Speech and Drama (directing/teaching) from Central School of Speech and Drama, London.
Sara Mangano (Italy), Movement
Actor, dancer, mime artist, director and teacher, Sara Mangano graduated in 1997 from the school of mime founded by Marcel Marceau. She participated in the creation of Marceau’s “The Bowler Hat”and “Fantastic Tales”, with which she toured worldwide. Her background in dance and comedy has enabled her to perform in a wide variety of productions, from “Les Possedes” by Dostoyevsky to “Histoire du Soldat” by Stravinsky. She has also choreographed for orchestras and musical ensembles such as Le Poeme Harmonique and Orchestre National d’Ile de France. She served as artistic director jointly with Pierre-Yves Massip at Acta Fabula for 10 years and is now co-artistic director at Autour du Mime. Sara has taught professional workshops in mime, physical theatre and dance throughout Europe and in the UK and USA. She has a diploma from the Paris International School of Mimodrama Marcel Marceau.
Sardono W. Kusumo (Indonesia), Wayang Wong
Since the 1970s, not only have the works of director, choreographer and filmmaker Sardono Kusumo seen acclaim in his home country, they have been critically received in tours to Asia, Europe and the Americas and at major international festivals. Formally trained in classical Javanese dance, Sardono has researched and explored multidisciplinary and intercultural pathways and worked with a diverse group of artists around the globe, whether it is the people in Bali, East Kalimantan and Nias, or contemporary artists such as Peter Brook, Arianne Mnouchkine and Eugenio Barba. His long-standing relationship with the villagers of Teges, Bali, has resulted in remarkable stage and film works. His environmentally-based pieces between 1979 and 1987 were the direct result of a relationship he had developed with the Dayak tribesmen of East Kalimantan. He has also created solo pieces for himself with Japanese composers Yuji Takahashi, Kauze Sawai and Takehisa Kosugi which have been seen in Jakarta, Tokyo, Osaka and Kobe. A recipient of national and international awards for his contribution to the arts, Sardono was formerly the Rector of the Jakarta Institute for the Arts (IKJ). He has a Bachelor of Economics from the University of Gadjeh Mada, Yogyakarta.
Sim Pern Yiau (Singapore), Taiji for Actors
An actor and taiji teacher, Sim Pern Yiau is a graduate of ITI. He also teaches drama at Singapore schools, and has acted and directed for many theatre companies including The Finger Players, The Theatre Practice and The Necessary Stage. He is currently a Black Belt 5th Dan disciple of Grandmaster Sim Pooh Ho of the Nam Wah / Wu Tu Nan Taijigong system. He has a Bachelor of Arts in Theatre Studies from the National University of Singapore.
Sirlei Terezinha Alaniz a.k.a Leela Alaniz (Brazil), Movement
Leela Alaniz is a Brazilian-born actress and Co-Director of Pas de Dieux Physical Theater Company. From 1991 to 1993, she received a scholarship grant to participate in UTA, a centre of research for theatre anthropology in Brazil. In 1994, she founded Casa de Artes BAKA, a multicultural arts centre. For her direction and management of the Casa de Artes BAKA, she received the coveted SATED prize. From 1997 to 2003, she studied corporeal mime under Thomas Leabhart in California and Paris, eventually becoming his assistant. She has directed several shows and has taught courses in California, France,Spain Argentina and Brazil. In 2008, she directed a devised work, “The Divine Wind and Tears Lost in the Rain”, for ITI. Her masters thesis concerning “The dynamo-rhythm of Etienne Decroux” was published in Mime Journal. She is doing her PhD in theatre studies at Université Sorbonne Nouvelle – Paris 3. Leela has two Masters, one in Performing Arts from Université Paris 8 Vincennes-Saint-Denis and the other in Research for Theatre and Performing Arts from Université Sorbonne Nouvelle – Paris 3.
Sumit Mandal (Malaysia), Seminars on Southeast Asia
Sumit K. Mandal is Senior Fellow at the Institute of Malaysian and International Studies (IKMAS), Universiti Kebangsaan Malaysia, a recipient of the Asian Public Intellectuals (API) Fellowship, and a member of the advisory board of the Kyoto Review of Southeast Asia. He is an author of many articles on his area of research, which is cultural diversity with a focus on Southeast Asia, in particular the connections of its Muslim societies with the Indian Ocean world. He is also interested in contemporary cultural politics, especially language, identity and the arts.
Terence Crawford (Australia), Acting; Directing; Improvisation/Individual Project/Post Modular Labs; Individual Project; Western theatre Canon (Chekov, Shakespeare)
A freelance actor, director and lecturer, Terence Crawford was the former Head of Acting at Theatre Nepean, University of Western Sydney.
Tong Qiang (China), Beijing Opera
Tong Qiang has more than 45 years’ experience in performing and teaching Beijing Opera. From the mid 1960s till the early 1980s, he was a lead actor with the Shanghai Opera School. He then went on to teach at the same school. He is currently Senior Lecturer at the Shanghai Theatre Academy. Under his guidance, many of his students have won national awards and performed in Taiwan, Hong Kong and throughout China. He has published several essays on the teaching methods of Beijing Opera and received numerous city and national awards for his work as an educator. He has a a Professional Certificate specialising in Beijing opera from the Shanghai Opera School.
T. R. Sooraj (Sooraj Nambiar) (India), Kutiyattam
T. R. Sooraj was initiated into Kuttiyatam at the age of nine by Guru Ammannur Madhava Chakyar. He has performed widely within India and overseas. He presently works as a Kutiyattam artist at Natanakairali performing leading roles in the traditional works as well as newly composed Kutiyattam plays.
Uichiro Fueda (Japan), Workshops (Suzuki Method of Actor Training); and Director, Hamletmachine (July 2008)
Uichiro Fueda performed with the Suzuki Company of Toga and was instrumental in the formulation of the Suzuki Method of Actor Training. In 1998 he established the Uichiro Fueda Theatre Office. Since then, he has composed, directed and performed in numerous productions. He is the author of The Principal Theory of 21st Century Theatre.
William Sun Hui Zhu (China), Western Theatre Canon (Brecht); Arts & Culture of China; and Director, The Caucasian Chalk Circle (May 2005)
William Sun is a playwright, director and author, who has also taught extensively in China and the USA. He is Vice-President at Shanghai Theatre Academy and a contributing editor to TDR. His books include The Fourth Wall: Structures and Deconstructions of Theatre, Clash of Civilisations and Conflict on Stage and Performance and Image Making.
Yoo Jeung Sook (Korea), Movement
Yoo Jeung Sook is a Korean actor, director and researcher with interests in traditional Korean aesthetics and its application to acting. She is a co-founder of Theatre P’yut, which explores Asian perspectives in relation to its intercultural and interdisciplinary approaches to theatre-making. As an actor, she has performed in Playing ‘the Maids’ and 4.48 Psychosis. Her practice includes DahnHak, a form of Korean meditation, traditional Korean danceand Phillip Zarrilli’s psychophysical performer training method. She has taught at East 15 Acting School, University of Essex, UK, as Head of its BA World Performance Course. She has a PhD in Performance Practice from the University of Exeter.
(as at teaching time)
|Airan Berg||Israel/Austria||Artistic Director, Schauspielhaus Wien, Vienna; Founding Artistic Director, Theatre Ohne Grenzen, Vienna; Former Director, Schiller Theatre, Berlin; Former Director, Burgtheater, Vienna||Workshops (Digital Media)|
|Alex Pinder||Australia||Director, Actor, Theatremaker||Acting; Movement; Improvisation/Individual Project/Post Modular Labs; Western Theatre Canon (Chekov, Shakespeare); Workshops (Commedia Dell’arte)|
|Amal Allana||India||Director, National School of Drama, New Delhi||Arts & Culture of India|
|Ananya Chatterjea||India||Artistic Director, Women in Motion; Assistant Professor, Dance Faculty, University of Minnesota||Dialogue Sessions; Other Lectures/Seminars|
|Anne Bogart||USA||Co-Founder, Artistic Director, SITI Company, USA; Associate Professor, Columbia University||Workshops (Suzuki Method)|
|Avanthi Meduri||India||Senior Research Scholar, Department of Culture, Government of India and Associate Fellow, Centre of Art and Aesthetics, Jawaharlal University, New Delhi||Arts & Culture of India|
|Bansi Kaul||India||Theatre and Art Film Director; Founder, Rang Vidushak Theatre Group, India||Arts & Culture of India|
|Brett de Bary||USA||Professor of Japanese Modern Literature and Comparative Literature, Cornell University||Arts & Culture of Japan|
|Cao Lu Sheng||China||Playwright; Dean, Department of Dramatic Literature, Shanghai Theatre Academy||Arts & Culture of China|
|Chan Ping Chiu||Hong Kong||Artistic Director, On & On Theatre Workshop, Hong Kong||Other Lectures/Seminars|
|Chandralekha (1928–2006)||India||Dancer/Choreographer||Dialogue Sessions|
|Chen Hui-wen||Taiwan||Lecturer, Taipei National University of the Arts; Resident Artist, Project Arts Centre, Dublin||Workshops (Devising)|
|Danny Yung||Hong Kong||Artistic Director, Zuni Icosahedron, Hong Kong; Vice-Chairman of the Board, World Culture Forum Inc; Programme Director, Hong Kong Institute of Contemporary Culture||Arts & Culture of China; Dialogue Sessions|
|Ding Luo Nan||China||Teacher, Shanghai Theatre Academy||Arts & Culture of China|
|Edith Podesta||Australia||Director; Choreographer; Actor; Teacher, NIDA, Australia; Movement Teacher||Movement; Improvisation/Individual Project/Post Modular Labs|
|Endo Suanda||Indonesia||Chairman, Society for Indonesian Performing Arts; Lecturer, Indonesian College of the Arts, Bandung||Arts & Culture of Indonesia|
|Feng Ming Yi||China||Formerly from Central Academy of Drama, Beijing||Chinese Speech|
|Foo Shang Wee||Singapore||Taichi Teacher||Taichi & Meditation|
|Fujita Takanori||Japan||Musicologist, Associate Professor, Osaka University for Women||Arts & Culture of Japan|
|Gauri Krishnan||Singapore||Senior Curator, South Asia Section, Asian Civilisations Museum, Singapore||Arts & Culture of India|
|Goenawan Mohamad||Indonesia||Poet, Critic and Journalist; Director, Kommunitas Utan Kayu; Founding Editor, Tempo||Arts & Culture of Indonesia|
|He Bing Zhu||China||Director; Professor, Acting Faculty, Central Academy of Drama, Beijing||Acting|
|Hideaki Kojima||Japan||Actor, Assistant Instructor, Kanze Kyukoh-kai (Kanze School of Noh), Japan||Noh|
|Hideo Kanze||Japan||Descendant of Noh masters Kan’ami and Zeami; Director, Actor, Kanze Kyukoh-kai (Kanze School of Noh), Japan||Noh|
|Jane Gilmer||New Zealand||Assistant Professor, Visual and Performing Arts – Drama, National Institute of Education, Singapore||Individual Project|
|Jean Ng||Singapore||Freelance Actor, Acting Teacher; Former Associate Director, The Necessary Stage, Singapore||Movement; Improvisation/Individual Project/Post Modular Labs; Assistant Director for Final-Year Production|
|Jeremiah Choy||Singapore||President, Association of Singapore Actors||Other Lectures/Seminars|
|Julian Victor Koschmann||USA||Professor of History, Cornell University||Arts & Culture of Japan|
|Kalamandalam Hariharan||India||Percussionist; Percussions Teacher||Kutiyattam|
|Kamala Ganesh||India||Reader in Cultural Anthropology, Department of Sociology, University of Mumbai||Arts & Culture of India|
|Khin Bu||Indonesia||International Guest Taichi Teacher||Workshops (Taichi)|
|Kirstie O’ Sullivan||New Zealand||Secondment from NIDA, Australia||Voice & Speech|
|Klaus Seewald||Austria||Actor, Director, Trainer, Theatre ASOU, Austria||Kalarippayattu (as Para-Theatre Training); Assistant Director for Final-Year Production|
|Koh Hwee Peck||Singapore||Drama Teacher; Trained in Chinese Classical Rhythmic Speech under Beijing Master Li Li Shan||Chinese Speech|
|Kuo Pao Kun||Singapore||Co-Founder, Director, TTRP||Improvisation/Individual Project/Post Modular Labs|
|Kwok Kian Woon||Singapore||Head, Department of Sociology National University of Singapore||Humanities|
|Lee Bee Bee||Singapore||Technical Manager, TTRP||Technical Theatre|
|Lee Breuer||USA||Stage Director, Lyricist, Writer, Teacher; Co-Founder & Co-Artistic Director, Mabou Mines Theatre Company, USA||Workshops (Acting & Directing)|
|Lee Chee Keng||Singapore||BA (Hons), National University of Singapore; MA (Japanese Studies), NUS||Humanities|
|Lee Cheuk Yin||Singapore||Associate Professor and Head of Department of Chinese Studies, National University of Singapore||Arts & Culture of China|
|Leisa Campbell||Australia||Head of Physical Performance, Victorian College of the Arts, Melbourne; Former Teaching Assistant, Ecole de Mime Corporel Dramatique, Paris||Acting|
|Leo Suryadinata||Indonesia||Professor, Department of Political Science, National University of Singapore||Arts & Culture of Indonesia|
|Li Liu Yi||China||Director, Beijing People’s Art Theatre Troupe||Dialogue Sessions|
|Li Xie||Singapore||Actor, Director, Playwright, Mask Maker; Associate Artist, Drama Box, Singapore||Workshops (Biomechanics)|
|Lin Hwai Min||Taiwan||Founder and Artistic Director, Cloud Gate Dance Theatre of Taiwan||Arts & Culture of China|
|Lin Ke Huan||China||President and Artistic Director, China Youth Art Theatre; Honorary President, China Theatre/Literature Association; Deputy President, China Dramatic Arts Research Association; Theatre Critic||Arts & Culture of China; Dialogue Sessions|
|Liu Zai Fu||China||Guest Research Professor, Hong Kong City University||Arts & Culture of China|
|Lok Meng Chue||Singapore||Associate Artistic Director, TheatreWorks, Singapore||Assistant Director for Final-Year Production|
|Martina Winkel||Austria||Founding Artistic Director, Theatre Ohne Grenzen, Vienna||Workshops (Digital Media)|
|Maude Mitchell||USA||Actor, Dramaturg, then playing Nora in Mabou Mines Dollhouse by Mabou Mines Theatre Company||Workshops (Acting & Directing)|
|Michael Simon||Germany||Professor of Scenography, Die Staatliche Hochschule für Gestaltung||Workshops (Digital Media)|
|Miyuki Kamimura||Japan||Actor; TTRP Class of 2002||Workshops (Suzuki Method); Assistant Director for Final-Year Production|
|N. Yagna Prabha||India||Correspondent (Chief of Programmes), Nrithya Vruksha Institution of Fine Arts, India||Bharatanatyam|
|Niamh Dowling||UK||Head of Theatre, Manchester Metropolitan University||Workshops (Alexander Technique)|
|Niko Besnier||Algeria||Visiting Professor, Anthropology Department, UCLA||Other Lectures/Seminars|
|Nissar Allana||India||Director of the Dramatic Art & Design Academy (DADA), New Delhi||Arts & Culture of India|
|Patricia Boyette||USA/UK||Associate Professor, University of Wisconson-Madison Department of Theatre and Drama; Theatre Scholar; Performer||Western Theatre Canon (Beckett); Assistant Director for Final-Year Production|
|Peter Hamilton||UK||Teacher Trainer, British Council, Singapore||Voice & Speech|
|Robert Draffin||Australia||Director; Actor; Lecturer in Acting, School of Drama Melbourne, University VCA||Director for Final-Year Production|
|Russell Cheek||Australia||Movie/TV Actor||Director for Final-Year Production|
|Rustom Bharucha||India||Theatre Director, Culture and Theatre Critic/Writer||Dialogue Sessions|
|Sadanand Menon||India||Writer and Cultural Critic||Arts & Culture of India|
|Sakai Naoki||Japan||Professor of Asian Studies and Comparative Literature, Cornell University||Arts & Culture of Japan|
|Sal Murgiyanto||Indonesia||Dean, School of Performing Arts, Jakarta Institute for the Arts||Arts & Culture of Indonesia|
|Samuel Kahn||Singapore||Physiotherapist, Bodyworks Studio Physiotherapy and Sports Medicine, Singapore||Workshops (Kinesiology)|
|Song Jie||China||Lecturer, Department of Drama, University of Shenzhen||Acting|
|Stan Lai||Taiwan||Playwright; Artistic Director, Performance Workshop, Taiwan; Founding Director, School of Advanced Theatre Studies, Taipei National University of the Arts||Dialogue Sessions|
|Stephen Hazell||UK||Associate Professor, School of Arts, National Institute of Education, Nanyang Technological University, Singapore||Western Theatre Canon (Shakespeare)|
|T. Venkataraman||India||Principal, Nrithya Vruksha Institution of Fine Arts, India||Bharatanatyam|
|Tan Swee Hian||Singapore||Writer, Artist||Arts & Culture of China|
|Tian Wei Xu||China||Director, Actor; Actor, National Theatre Company of China||Acting|
|Tolis Papazoglou||New Zealand||Theatre and Set Designer||Other Lectures/Seminars|
|Tong Qiang||China||Senior Lecturer, Opera and Dance College, Shanghai Theatre Academy; Former Actor, Instructor, Shanghai School of Opera||Beijing Opera|
|Uchino Tadashi||Japan||Visiting Scholar, Department of Performance Studies, New York University; Associate Professor of Interdisciplinary Cultural Studies, University of Tokyo||Arts & Culture of Japan|
|Vivienne Loh||Singapore||Pilates Matwork/Reformer Instructor||Movement|
|Walter Leung||Hong Kong||Taichi Trainer; Freelance Actor; Director||Workshops (Taichi)|
|Wang Gung Wu||China||Director, East Asian Institute (EAI)||Arts & Culture of China|
|Wu Xi||China||Co-Artistic Director, The Theatre Practice, Singapore; Lecturer, Department of Drama, University of Shenzhen||Acting|
|Ye Chang Hai||China||Dean, Department of Dramatic Literature, Shanghai Theatre Academy; Vice-Chairman, Chinese Xiqu Arts Institute||Arts & Culture of China|
|Yong Ser Pin||Singapore||Actor, Teacher (Speech & Drama)||Chinese Speech|
|Yu Shan Lu||Taiwan||Lecturer, Critic, Writer||Arts & Culture of China|
|Zhuo Ming||Taiwan||Acting and Theatre Therapy Teacher; Former Artistic Director, Lan Ling Theatre Company, Taiwan; Former Artistic Director, South Wind Theatre Company, Taiwan; Former Acting Instructor, Spice Mama Theatre Group, Taiwan||Improvisation/Individual Project/Post Modular Labs|
|Zhuo Qing Ming||China||Teacher, Shanghai School of Opera||Beijing Opera|