If you want to know something, read about it.
If you want to learn something, study it.
If you want to master something, teach it. -Yogi Bajan –

Since graduating from the Drama Akademie Zurich in 1988, I have been working as an actor and director and since 1996 also as a drama teacher and coach.
Already during my acting school I had the desire to get to know and study as many different methodological acting approaches as possible.
The associated curiosity along with the associated ongoing process of artistic development drives me in my work as a coach.

On my journey intense experiences developed using the methods of Sanford Meisner, Michael Chekhov / George Shdanoff / Lenard Petit, with those of Lee Strasberg / Susan Batson / or Harold Guskin and other influences such as deep relaxation, meditation, the work on presence, and with various doctrines of psychology.

My experience with professional actors shows that the requirements and expectations of the modern actors have multiplied in the last 20 to 30 years.
Actors who spend most of their working lives with a few or even a single engagement at a theaters, are the exception and not the rule.

For most actors it means to manage a balancing act between self-employment and employment; today’s actors should be able to move just as masterfully with his means at a rehearsal as well as on a film set, he should be able to adapt and integrate just as well within an ensemble and in a long rehearsal process with a director as well as appear on set with an absolutely independent and completely self contained pre-rehearsed character.
He should easily be able to switch between the media, concerning the areas of synchronization, microphone speech or presentation. Moreover, he can not pass up an opportunity to acquire, as a freelancer, the necessary strategic marketing skills such as advertising, marketing, profiling, presence, etc…

All of these requirements often create such a pressure, which prevents an artist from the unfolding of the artistic personality in the work, and disturbs the creative process.

To create inner freedom, ease, joy, relaxation and concentration as the basis of acting is, to me, therefore, always a priority in the collaboration. In responding to the individual strengths and to the individual needs of each student or group, I then develop creative methodological choices that are most effective in the moment and playful at the same time.
For this I have at my disposal the experience of a broad acting methodological spectrum that is always in demand.