PRACTICE RESEARCH.

My research asks what it might mean to train actors otherwise. Psychophysical practice — drawing on Michael Chekhov's technique and my own twenty years in the room — has long promised to free the actor from convention. I'm interested in what phenomenology and queer theory can offer a training tradition still shaped by ideas of discipline and neutrality, and in what disability studies and crip theory might open up when placed alongside it.

​

This work forms my current, fully-funded PhD at the Royal Central School of Speech and Drama — an action research and practice research project supervised by Professor Tony Fisher and Professor David Harradine, oriented toward imagination, queer phenomenology and psychophysical actor training. I am a member of TaPRA, DramaHE, the International Federation of Theatre Research and the Society for Theatre Research.