Involved in theatre since the 1960s, Aarne Neeme is a freelance director who has frequently been engaged for theatre as well as television work. He has also taught at various tertiary institutions over the past forty years.
He was previously Artistic Director of several Australian theatre companies, Head of Department of Theatre at the Western Australia Academy of Performing Arts, and Senior Fellow at the National University of Singapore.
In 2013 he was conferred the Order of Australia Award in the Queen’s Birthday Honours. Neeme has a Bachelor of Arts degree from the University of New South Wales.
Alberto Ruiz Lopez has previously been a teacher of various modules such as Acting, Movement, Graham’s Technique and Theatre Language for Dancers at the University of Guadalajara, Mexico. He is also a certified Kundalini Yoga teacher.
A theatre practitioner who has directed and acted, he was the former Director of the Company of Theatre from Jalisco. As a director, he has helmed operas – Verdi’s La Traviata and Purcell’s Dido and Aeneas – and plays such as Dario Fo’s Un Dia Cualquiera and Alfred Jarry’s King Ubu. His work extends beyond his home country of Mexico to Poland; Texas, USA; and Colombia.
A multiple award recipient, Beto is a 2008 graduate of Intercultural Theatre Institute (ITI), then known as Theatre Training and Research Programme (TTRP). Beto also holds a Bachelor of Performing Arts from the University of Guadalajara, Mexico.
Bambang Suryono has been a classical Javanese and contemporary dancer since the 1980s. He first trained at the famous Istana Mangkunegaran in Solo, Indonesia and later with Indonesian dance doyen Sardono Kusumo. He has performed internationally in works by Sardono Dance Theatre and in the 2000s, his own choreographic works have been staged across Indonesia and overseas. He has also collaborated with Singapore companies Arts Fission and Chowk Productions.
His research about vocal expressions of indigenous people around Indonesia regions has resulted in a specific method of body training called Besur’s Technique. It elaborates and intensifies the consciousness of body sensitivity of actors and dancers to detailed movements through breath, voice and movement. A very slow tempo, refined, and flowing movement is the core of the technique. He has taught his technique in workshops around the world. Bambang has a Diploma as an Artist from the Karawitan Arts Academy, Indonesia, and a Master in Arts (Artistic Creation) from the Indonesia College of the Arts, Surakarta.
Daniela Carmona has over 28 years of teaching experience in Brazil and Argentina. She is the founding director, a researcher and teacher at the Theatre School of Porto Alegre (TEPA) – Centre of Production, Research and Cultural Education, and the co-founder of theatre company, Cia do Giro. Daniela is also a director, playwright and choreographer. She has directed extensively for the academic and professional stage and received numerous awards for her stage work, most notably for her work on Ghetto Bufo. Her professional training includes work with Irion Nolasco, Maria Lucia Raymundo, Ecole Philippe Gaulier, Thomas Leabhart, Lenard Petit, the SITI Company and the Laban Centre for Movement and Dance. She also has training in the Michael Chekhov technique, mime, clowning, acrobatics, martial arts (Shaolin Kung Fu), classical ballet, jazz, modern and contemporary dance. Daniela has a Bachelor of Performing Arts by Federal University of Rio Grande du Sol.
Gopalan Venu is Director of Natanakairali Research and Performing Centre for Traditional Arts and Artistic Director of the Kutiyattam Repertory Troupe. He received his training in Kutiyattam from Gurus Ammannur Madhava Chakyar and Ammannur Parameswara Chakyar in the traditional Gurukula System. He is active in the field of Kutiyattam as a performer, researcher and director. The nine-hour long Kutiyattam play, Sakuntala, which he directed has been presented in Italy, Switzerland, France and Japan.
Venu has also written several books on the traditional art forms of Kerala. He was nominated as one of the four honorary directors of “World Theatre” along with eminent Swedish theatre director Peter Oskarson and Beijing opera master Ma Ke. In 2000, his brainchild, the International Acting Laboratory or Abhinaya Kalari, was inaugurated. Venu has Professional Certification in the Gurukula system (Guru status). The Gurukula system is recognised by UNESCO.
An actor, director and teacher, Guillermo Angelelli studied drama at the National School of Dramatic Arts in Buenos Aires and continued his training with teachers such as Carlos Gandolfo and Cristina Moreira. He was one of the founders of Clu del Claun, a pioneering group that defied tradition in the 1980s and gained legendary status in Buenos Aires. In 1986 he began to develop training and research work with Iben Nagel Rassmusen of Denmark’s Odin Teatret, and is now a member of the Vindenes Bro Group (The Bridge of Winds) managed by Rassmusen. He has been teaching since 1986 in drama institutions and at workshops, focusing on clowning, physical and vocal training, in Argentina and other parts of Latin America, as well as Europe.
He has won many awards for his work in theatre including the Harlequin Award for Best Actor and Director for Asterion (1992), GATEA Award and Maria Guerrero Award for Best Actor for The Threepenny Opera (2004) and Hamlet (2004), and Maria Guerrero Award for Best Actor for Woyzeck (2006).
Indira Pensado is an actor, director and voice teacher.
Since 2000, she has conducted voice workshops in Buenos Aires, Argentina as well as Mexico. Some of the places she has taught at include Licenciatura de Teatro del Centro de las Artes, UAEH, Real del Monte; Centro Morelense de las Artes (CMA), Cuernavaca, Morelos; Laboratorio escénico La Rueca en Cuernavaca, Morelos; La Universidad de Sonora (UNISON) and Casa del Teatro and Argos Casa Azul. She also has served as vocal coach for several productions in Mexico for actors, and for personalities such as Cecilia Appleton (dance) and Juan Pablo Villa (music performer).
Indira trained with Kozanna Lucca from the Roy Hart Theater, with whom she has also developed a methodology for offering this work. She has also taken the following voice workshops: Intensive vocal training, with Derek Rosignol, David Goldsworthy, Anne Marie Letron and Judy Wilson, in the Roy Hart International Center in France (2001); Choreographic Theatre and Voice with Enrique Pardo and Linda Wise from the Pantheatre of Paris (2003); Harmonic singing with Robert Schwendeman; and singing lessons with Maria Huesca (2002), Ane Hegee (2004), and Verónica Ituarte (2008-2009). In 2009, Indira attended the VASTA conference in New York, where she took the master classes led by Kristin Linklater and Patsy Rodenburg.
She has been training in the Linklater Method since 2008 with Antonio Ocampo and Andrea Haring, and Kristin Linklater. She is presently a Designated Teacher at The Linklater Center for Voice NY, and is also a member of the Voice and Speech Trainers Association (VASTA) and foundation member of Linklater Voice at Orkney, Scotland.
Indira holds a Bachelor of Arts in Dramatic Literature and Theatre from the National Autonomous University of Mexico (UNAM).
Jane Margaret Gilmer is an experienced performer, teacher and director of theatre. She trained in the speech and drama techniques of Rudolf Steiner infused with the work of Michael Chekhov, at the Harkness Studio Sydney in the 1980s. Born in New Zealand, she has lived and worked with theatre internationally for most of her life. Most recently she spent the past 10 years teaching theatre in Singapore and lecturing at the National Institute of Education, an institute of the Nanyang Technological University. Jane performed with the Rose Theatre Company based in England for several years in the 1990s touring international performances of Shakespeare and giving workshops.
In 2008, Jane attained a diploma in Holistic Psychotherapy to deepen her pedagogical approach to teaching theatre. Her studies include the in-depth psychological work of C. G. Jung, particularly his work in psychological alchemy, and how this might be aligned with Steiner’s indications on Speech and Drama and Michael Chekov’s theatre technique. Currently, she is in the final stages of completing a book titled The Alchemical Actor: Performing the Great Work, to be published by Rodopi Press. Jane holds a B.A. in Theatre and Drama Studies and a PhD in Theatre from Murdoch University, Western Australia.
The only son of Kanze Yoshiyuki, the fourth head of Kanze Kyuhkoh-kai (Kanze School of Noh), Kanze Yoshimasa was taught and trained by his father and made his stage debut at the age of three. A shité master, one who is an exponent in principal roles, he is well known for his dynamic voice. He is also a respected teacher of Noh and has lectured at Kogakkan University and Hosei University. He is a board member in Kanze Kyuhkoh-kai and founded Know Noh Company. He is also a director of the Nohgaku Performers’ Association. Kanze Yoshimasa is certified vocationally as Jun-Shokubun Menjo (professional actor) by the Kanze School and has a Bachelor of Laws in Political Science, Keio University.
Kapila Venu was initiated into Kutiyattam at the tender age of seven by the legendary master Guru Ammannur Madhava Chakyar. She regularly performs at important festivals and other venues throughout India and internationally such as in Japan, Europe and New York. She was described as “astounding” and her performance “extraordinary” by the New York Times (9 Sep 2012). She is also frequently invited to conduct workshops. Kapila has Professional Certification in the Gurukula system (Guru status). The Gurukula system is recognised by UNESCO.
Karen is a practitioner in traditional Taijigong and is a disciple of Master Sim Pern Yiau of the Nam Wah Taijigong Association. Well-known for its award-winning practitioners in the martial arts and self-defence disciplines, the Nam Wah Taijigong Association was founded as the Nam Wah Pai Martial Arts Association in 1964 by Grandmaster Sim Pooh Ho. Grandmaster Sim is a lineage holder disciple of the renowned late Grandmaster Wu Tu Nan of Beijing. Karen has been a practitioner since 2010 and has been an Assistant Instructor with Master Sim for more than five years.
Kuwata Takashi was trained under Kanze Yoshiyuki, the fourth head of Kanze Kyuhkoh-kai (Kanze School of Noh). He has played many shité (principal) roles in his professional career. He teaches Noh in various parts of Japan and also supports interest in the art form by conducting classes for amateurs and supervising the Noh activity club in Meiji University. He is certified vocationally as Jun-Shokubun Menjo (professional actor) by the Kanze School and has a Bachelor of Arts in Economics from Meiji University.
From the mid 1960s till the late 1970s, Mdm Li Qiu Ping was an actress and teacher with the Shanghai Opera School. She now teaches at the Opera and Dance College of Shanghai Theatre Academy as Senior Lecturer. A member of the Shanghai branch of the Chinese Drama Association, she has won numerous awards as a critic of arts education, and also for her work as an outstanding teacher. These include the 4th Hu Chu Nan Award for Outstanding Teachers, Shanghai Cable Television Professional Dedication Award, National Award for Coach of the Physically Challenged, National Opera Peace Cup Competition Teacher’s Award, Chinese Opera Institute Teacher’s Award and Shanghai Woman of the Year. In 2012, she was recognised as an Exemplar Lineage Holder for Beijing Opera, which is part of Shanghai’s Intangible Cultural Heritage, by the Shanghai Municipal Administration of Culture, Radio, Film and TV. Mdm Li has a Professional Certificate specialising in Beijing Opera from the Shanghai Opera School.
Lim Chin Huat is a cross-disciplinary artist who has over two decades of experience in capacities as visual artist, performer, dancer, choreographer, costume designer, facilitator and educator. In particular, Chin Huat is known for his stunning visual creative works with cross-disciplinary, site-specific, outreach and non-conventional in nature. Chin Huat has worked with Toy Factory Theatre Ensemble (1990-1996), and later, as co-founder and artistic director of ECNAD (1996-2013).
As a prolific creator, he has created more than 70 creative works, mainly full-length dance, since 1993. Some of his signature and collaborative works were seen and presented in Singapore Arts Festival, Belgrade International Theatre Festival, Vienna Arts Festival’s Asia Village, Festival of Asia (New Zealand), Asia Interaction (Indonesia), Actor Studio at Kuala Lumpur, Beijing’s Chaoyang Cultural Centre, Esplanade Raw Series, Gardens by The Bay Opening, Mercedes-Benz Asia Fashion Award, Artwine Festival, Singapore River Festival, MediaCorp Star Awards, Asian Civilisation Museum and others. Chin Huat is a recipient of the Young Artist Award (2000), and a nominee for the Spirit of Enterprise Award (2004). Chin Huat holds double Diplomas in Dance and Fine Arts from the Nanyang Academy of Fine Arts.
Phillip Zarrilli is the founding Artistic Director of The Llanarth Group in Wales, UK. He is internationally known as a director, actor and actor-trainer. His directing credits include Kaite O’Reilly’s The 9 Fridas with Mobius Strip Theatre at the Taipei International Festival 2014, and Ota Shogo’s The Water Station at Nordland Teater in Norway. He is Professor Emeritus of Performance Practice at Exeter University, UK, and teaches regularly at Intercultural Theatre Institute. His publications include Psychophysical Acting: An Intercultural Approach After Stanislavski and Kathakali Dance-Drama: Where Gods and Demons Come to Play. He has a PhD in Theatre and Drama from the University of Minnesota.
Simon is a vocational trainer of actors in the field of Voice and Speech with 20 years experience.
He is a Certified Master Trainer of Estill Voice Training (EVT), an internationally recognised training qualification, and has a career track in the performing arts spanning 26 years – first as an actor, then as a specialist pedagogue in voice.
Simon has taught at many of the major actor training organisations in Australia, among them the National Institute of Dramatic Art, Australia (NIDA), the Actors College of Theatre & Television (now AFTT) and the Australian Academy of Dramatic Art (now AIM). Prior to ITI, he was the Lecturer for Voice and Speech at Adelaide College of the Arts (2009 – 2017). Simon has also served as a Voice and Dialect coach for the State Theatre Company of South Australia (STCSA) and the local film industry. In 2017, Simon was the resident Voice and Dialect Coach on Matilda, the musical, for the Royal Shakespeare Company for the Adelaide and Auckland seasons.
Simon holds a Bachelor of Performing Arts (Acting) awarded by the University of Western Sydney, Australia (UWS) and a Graduate Diploma of Dramatic Art in Voice Studies awarded by NIDA.
Leela Alaniz is a Brazilian-born actress and Co-Director of Paris-based theatre company Pas de Dieux. Her career consists of a constant round-trip movement between the practice and the theory of theatre. With over 20 years of research in Theatre Anthropology and Corporeal Mime practice, she has directed several shows and has taught courses in California, France, Spain, the UK, Italy, Argentina and Brazil. In 2008, she directed a devised work, The Divine Wind and Tears Lost in the Rain, for ITI.
After a double major in Physical Education and Theatre Studies in Brazil, 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, and for her direction and management she received the coveted SATED prize.
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. Her masters thesis concerning “The dynamo-rhythm of Etienne Decroux” was published in Mime Journal, Pomona College (California). She also has a Doctorate in Theatre Studies from Université Sorbonne Nouvelle – Paris 3. Her doctoral dissertation entitled “The Thinking Body, the Dancing Mind – The Actor in his Quest for the Lost Unity” will be published by Editions Deuxième Époque (Paris) in 2019.
Trained at Australia’s National Institute of Dramatic Art (NIDA) and Symphony Hall in Birmingham, UK, Kenny Wong was closely involved in the pre-opening preparations at Esplanade – Theatres on the Bay and its opening festival as its first Production Manager. He developed and taught Singapore’s first tertiary level programme in technical theatre at Lasalle College of the Arts. He has provided his expertise as a consultant for performance venues (School of the Arts, Lasalle, TheatreWorks’ 72-13, Singapore Pavilion Expo 2005), as well as worked on a wide range of theatre productions and events. He was the Technical Director of the 2011 National Day Parade and the 2015 Southeast Asian Games. Kenny has a Bachelor of Dramatic Art in Technical Theatre from NIDA.
Yu Xiang teaches at Shanghai Theatre Academy, covering modules such as Selected Performance Pieces (Acting), Physical Training, and Sparring Techniques (Martial Arts). He has won awards for his work as an outstanding teacher. Yu Xiang has a Bachelor's degree in Performance from the National Academy of Chinese Theatre Arts in China.