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The first year focuses on the actor getting to know and shape their own instrument as it is here and now. This is done through movement, voice and awareness training, including training the imagination, devising original material for dance, text, storytelling and song. What do you want to express? What do you think you are expressing? And what is the audience’s perception?

Based on the first year, the second year focuses on acting and scene work from our unique point of view.

Days run from 8:30 am to 3 pm, Monday-Friday. The course language is English. All classes and subjects are inter-related and feed off each other. There are no set classes in the regular sense, but each semester have a specific aim.

Performances and open classes are held regularly. For the last segment of the education, the participants create original pieces.


Daily practices to develop awareness, listening, presence, technique and improvisational skills: warm up techniques, physical awareness, contact improvisations, mime, contemporary dance, abstractions, acrobatics, dramatic combat, Feldenkrais, Wudang (practical) Tai Chi, Chi Gong, dance and movement improvisation, warm down techniques, massage and meditation.

Voice work

Getting to know your voice through exploration in movement, both in song, speech and sounds, solo and in groups, with and without musician. Explorations of: rhythm, projection, different qualities of sound, airflow, resonance, range, presence, energy, expression, technique, and how to have a true musical meeting with a musician.

Original material

Exploring and devising original material based on improvisation: listening, catching an impulse, improvisation, imagination, exploring and re-exploring, devising material, setting material, formulation, composition, what do you want to say and why? Original work includes writing songs, poems, texts, dance choreographies, storytelling pieces, as well as the final segment where the participant creates any solo or group piece they find interesting.

Acting training

Preparations for acting training during year one include metaphysical and expressive masks and storytelling in solo and groups. In year two we explore different methods and acting techniques such as Konstantin Stanislavskij, Michail Tjechov, Lee Strasberg, Stella Adler, Sanford Meisner, Carlo Mazzone-Clementi and Ole Brekke: theatre and film history, text and text analysis, process, scene work, building a character and performing.

Reflection and critical reflection

Reflection and critical reflection/constructive critique is practiced every day to develop each participants perception and awareness. This is a corner stone of the education.

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