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"We don't consider 'physical theatre' to be a particular style of performance, but rather as an approach to all theatre. In English, the work of the performer is called Acting; that is, to act. To do something . Which transforms the actor's "what do I feel" to "what do I do?" The primary focus is no longer on the actor's personal experience, but on the audience's experience of the actor, which requires communication, rather than telepathy. Since we are dragging our bodies around the stage with us anyway - and like it or not, it always has an expression - we might as well train it, get to know it, engage it actively. In short, create physical theatre - because we are physical beings."
a præsentation of Theatret Thalias Tjenere
Article from Drama og Teater - i undervisningen,
the journal of Denmark's Drama Teachers' Association. No. 2 - June 98
Translation: Stephan Vernier
Our work is rooted in thirty years of Commedia dell'Arte performance for modern audiences, combined with continual training with as many different people and pedagogies as we can. We incorporate elements that feel true based on our experience, and reject pedagogies that are absolutist, authoritarian, or demagogic.
We believe that Commedia dell'Arte is for every body, that it's built to punch up, and that it is political.
We believe that training should not be locked behind a paywall.
Below are our upcoming classes. Please reach out if you require financial assistance to attend.
School and production training
We offer physical theatre, historical movement dramaturgy, dance and fight choreography to middle schools, high schools, universities, production companies, and community groups.
Our instructors have over thirty years of experience in teaching and choreographing with performers and scholars of all ages, around the world.
If you're wondering whether we can come to you, the answer is probably yes.
Shoot us an email and let's talk about what you need.
Commedia dell'Arte Overview
An overview of the history, stock characters, and movement vocabulary for Commedia dell'Arte.
Minimum 1.5 hours
Commedia dell'Arte masterclass
A deeper dive into the evolution of Commedia characters and application to modern performance
Minimum 4 hours
mask work overview
An overview of mask work, including neutral, larval and character masks.
Minimum 3 hours
movement instructor retreat
Designed for teachers of movement, this three day workshop guides instructors in isolating their unique pedagogy.
Commedia dell'Arte and Shakespeare
Commedia dell'Arte stock characters and movement vocabulary for Early Modern theatre performance.
Minimum 1.5 hours
introduction to stage combat
An overview of safe strikes, kicks, chokes and other stage violence.
Minimum 1.5 hours
our instructors
Our instructors have decades of experience in the fields they teach.
commedia dell'arte, movement, and mask work
Kate Meehan
Kate has been performing, teaching and researching commedia dell'Arte since 1996. She holds an ma in theatre history and criticism from Texas state university, and was named one of the leading female voices in commedia dell'Arte by Joan Schirle in 2013. She penned a chapter in the Routledge Companion for Commedia dell'Arte, and is currently working on a book on post modern commedia dell'arte practice.
Stage Combat, Intimacy
Tobie minor
Tobie is an Advanced Actor Combatant with the Society of American Fight Directors, and currently serves as the director of stage combat and intimacy at Texas State University. He holds a B.A. in Theatre Arts from New Mexico State University, and has been recognizged across austin for his fight choreography and performance.
Historic Dance
whitney rowlett
Whitney has performed and choreographed historic dance for over 30 years. She specializes in everything from medieval period to regency dance (1100 ce to 1820 ce), and has built the dance programs for renaissance faires, conventions, stage productions, and historic societies across the country.
contemporary Dance
Kelly Hasandras
Kelly is an award winning choreographer, theatre instructor, and improvisor with a degree in theatre and dance from The University of texas at austin and further training from danceability international, which focuses on teaching movement and dance to people of all abilities.