
Anik Matern (Improv)
I was looking for more freedom, sharper reflexes and greater ease in English. Improv with Anik Matern taught me above all to trust instinct and the present moment.

I was looking for more freedom, sharper reflexes and greater ease in English. Improv with Anik Matern taught me above all to trust instinct and the present moment.

In stage combat, precision creates the illusion of danger. With Shawn Baichoo, I worked on timing, safety, partner awareness and the acting underneath the choreography.

What does my face communicate before I say a word? Mélanie Pilon’s Camera Acting I workshop helped me explore my natural casting and what the camera sees.

Walking almost without moving, letting an image transform the body, learning to inhabit emptiness: five days of Butoh with Denise Fujiwara at Studio 303.

Richard Jutras taught me to dig into a scene instead of looking too quickly for the “right way” to play it — a teacher shaped by more than four decades in the profession.

Two weeks learning to think with the body: Decroux mime, improvisation and physical theatre at École Omnibus, ending with a performance at Place des Spectacles.

Three takes, two rounds of direction and one simple rule: everything around a self-tape should serve the acting. My workshop with casting director Jess Greenberg.

The 15 Guideposts of Shurtleff and Todoroff as text-analysis tools for becoming a better text detective without turning the scene into a classroom exercise.

Inside Tom Todoroff’s Monday Workshop, the technique leaves the notes and becomes concrete work on text, body, voice and relationship.

Beyond the Guideposts, the ideas in Tom Todoroff’s work that stayed with me: relationship, action, presence, vulnerability, danger and artistic culture.