In collaboration with Louise Søeborg Ohlsen, Lars is responsible for the overall planning, development and implementation of training content and for the artistic and pedagogical approach.
Lars trained as an actor at Drama Centre London (part of Central St. Martin’s College of Art/University of the Arts London). His most prominent mentor was the renowned Yat Malmgren, whose innovative Movement Psychology System, developed through his collaboration with the legendary Rudolf Laban, enjoys worldwide recognition. This system amalgamates Laban's movement theory and practice with Jungian psychology and key elements of Stanislavski’s Method.
Subsequently, Lars has performed in numerous productions nationally and internationally, before starting his directing and teaching career in 2000. Since then, he’s taught and directed around 40 theatre productions in Denmark, England, Scotland, Canada, Egypt, Greece, Iceland, Norway and Sweden.
For a span of more than 35 years Inge has worked with practical methods and research to contribute in an efficient and liberating way to develop vital expressivity of the voice, body and mind. Her career took its departure in training as an actress (the acting school at Odense Teater) and ensuing professional experience as both an actress and a stage director. Later training, MA in Voice studies (Central School of Speech and Drama, London), art- and integral gestalt therapy, has contributed to professional practises of teaching, coaching voice and acting, offering consultancy and integral psychotherapy. She has taught extensively on a variety of acting schools, including the 3 Danish state schools, Michael Chekov Studio, Danish Development Center for Performing Arts, and CISPA.
Inge is about to have a book published on her voice research and practices (“Brug Stemmen”, published at Varius) A pivotal point in her work is the human voice as a psycho-physical means of expression. Voice is a sensitive and accurate physical conveyor of psychological images, symbols, thoughts and emotions. The optimum use of mind, body and voice acts in a fundamental way to unfold both common humanity and individual personality through a powerful, direct and conscious presence. Therefore an essential and existential subject matter is the exploration of voice, body and movement in strong delivery of speech and human sound.
Tom was born in Israel in 1980. In 2002, he moved to London to train as a director at the Drama Centre London. Whilst at the Drama Centre, he made his first two short films, Headphones and A Picture of Me (produced by Barbara Stone). In 2006, he made the short film In the Dark as part of the Coming Up scheme for Channel 4 (produced by Polly Leys & Kate Norrish) followed by One Happy Moment (produced by Dan McCulloch) made for the Digital Shorts scheme and BBC Films. Tom’s debut feature The Comedian premiered at the London Film Festival in 2012 and was nominated for both the Sutherland Award and Best British Newcomer. He teaches screen acting at LAMDA (London Academy of Music and Dramatic Art), Drama Centre/Central St. Martin’s, RADA (Royal Academy of Dramatic Art), and Film London.
Tom is a regular teacher at CISPA
In collaboration with Lars Henning, Louise is responsible for the overall planning, development and implementation of training content and for the artistic and pedagogical approach.
Teaches from a broad understanding of Method Acting with Stanislavski’s founding principles as the starting point. Particularly inspired by Uta Hagen, Lee Strasberg and Mike Leigh. Trained as an actor at and is the co-founder of Teater FÅR 302 (1987) Since then, Louise has taught and directed at folk high schools of different kinds, music schools and more. Taught at FILM+Teaterskolen 1998 – 2013 Principal at FILM+Teaterskolen 2011 – 2013
Lotus holds a BA in Psycho-Motorics. She’s specialized in Rudolf Laban – technique, with acting students and people with trauma as the target groups.
Since 1994, Lotus has gathered extensive experience with intercultural performance and artistic exchange. As a performer, her focus is movement, dance and performance, having studied performing arts for years in countries as diverse as Indonesia, Brazil, Ghana and Sweden. Her personal mentor is Augusto Omolú (BRZ), The Odin Theatre, and she’s specialized in Afro-Brazilian deity and trance dancing.
In addition, Lotus is an instructor of Physio-Pilates and Mindfulness+Meditation. She’s currently doing further studies within cognitive coaching, movement therapy and movement communication
Maibritt is a highly experienced teacher in camera technique. On and off during the last 17 years, she has received master class training from arguably one of the most respected and unique acting teachers in Denmark, Finn Hesselager. In “the Actor’s Basic Technique” he has mapped out what we humans do “ordinarily”, but “unconsciously”, the training and implementation of which is at the core of Maibritt’s teaching. In her classes, the students gain tools to create an authentic “quality of being” in front of the camera. The actors train their awareness of what we’re unaware of in our daily lives, and being able to bring it forth in a completely free and organic presence, while at the same time looking through the performance from an inner space of alertness.
In collaboration with Lars Henning and Louise Søeborg Ohlsen, René is part of the management and is, among other things, responsible for the finances,
René graduated as an actor in 2012 from Film+Teaterskolen Holberg. He has received training i Stanislavskij-tecnique, Uta Hagen and Laban/Malmgren technique, He has been working as an actor since. He has been in plays all over Denmark i.e. Aarhus Teater, Teater Momentum, Esbjerg Musikhus, Odeon in Odense, Fredericia Teater. He is active in screen acting, and is doing a lot of dubbing for Disney and Netflix.
Henriette, now based in Copenhagen, received her formal training in Spain at Centro Maxime d’ Harroche. She’s specialized in modern dance and did her internship with DDT (Danish Dance Theatre). For the last 15 years she has been working as both a dancer and teacher in Denmark and abroad. She has received further training from names like Compania Danza Contemporanea de Cuba, Luis Roblejo, Cathy Stuyt and Stephane Buko. Henriette has a strong base in ballet, and has through her training and professional life worked with different modern techniques such as Laban, Horton, Cunningham, Graham, Limon and Gaga. Out of those she has especially found her inspiration and deeper work with the techniques of Horton, Cunningham, Gaga and ballet, which she also uses as the base for her classes.
In her teaching, she focuses on the process – the development of the whole person, body as well as mind, in the belief that we’re all unique and everybody has their own thing to offer. A big part of being a teacher is to guide and encourage each student as an individual, to guide them to find their own path, with strengths and weaknesses, and thereby forming an independent artist.
In Henriette’s classes at CISPA, you’ll be taken through different disciplines, starting with ballet, building up strength, balance, flexibility, body control, but also an understanding and base of dance technique. From there we move on to different modern techniques, try some different choreographies, and eventually progress further into improvisation and exploring own choreographies.
Her research revolves around the expression of Truth on stage, in all its manifestations. She has developed a methodology that challenges the actors to express themselves more freely and boldly, both artistically and personally. Among the most important topics, she works on the Rules of the Game, Theatre and Ritual, the Borders of Theatricality and the Poetics of Image. She draws inspiration from different sources such as Jerzy Grotowsky, Pina Bausch, Theatre du Soleil, Javier Daulte, José Sanchis Sinisterra amongst others.
From 2002 she has continuously worked with the internationally renowned theatre company Teatro de los Sentidos, being part of the team as a creator and an actress. She also teaches the Master of Sensorial Language and Poetics of the Game at Girona’s University.
In 2007, Rikke completed the 5 year diploma training at the Funen Musical Conservatoire as a rhythmical singer and voice coach, with the piano as her subsidiary instrument. She has many years’ teaching experience from different music schools, MGK, The Singing Academy etc.
Since graduating from the Conservatoire, Rikke has made further studies within singing and voice technique both nationally and internationally. In recent years, she’s been researching the correlation between body, voice and movement, thus commencing in 2010 a training in ”Movement Communication” at Decenter Funen.
As a performer, Rikke has investigated many different genres. She’s sung and played in several jazz orchestra, ranging from free jazz, improvisational music, original compositions to Big band. In addition, she’s been the lead singer of Salsamantes, a 10-person salsa orchestra, several pop, rock and soul cover-bands, and composes music for her own band, spanning classic pop, rock and samplings.
Laurence Mitchell trained at Drama Centre London and has been working as an actor in the UK for over 15 years. Theatre work includes-National Theatre, Young Vic, Old Vic, Almeida Theatre, Royal Shakespeare Company, Soho Theatre, Lyric Hammersmith, Royal Exchange Manchester among many others. He has taught at Central School of Speech and Drama, Drama Centre London/Central St Martins, ALRA,The Actors Centre London.
He is a regular tutor at CISPA.
Michael’s theatrical pedagogy brings together extensive experience from two complementary approaches. On the one hand, his personal training from Yale University and the Moscow Art Theatre School makes for a strong psychological basis, putting the actor face-to-face with the given circumstances of a text and the internal drives which propel a character forward. On the other hand, his many years of experience at The Meyerhold Centre, and apprenticing master directors such as Stathis Livathinos of the National Theatre of Greece and Nikolai Roshchin of the Alexandrinksy Theatre, sets a fundamentally physical approach to the actor’s work full of visual dynamism.
Always the expectation for his students is a fusion of these two trends, combining the physical rigour of Tadashi Suzuki’s demands on the actor’s body with Uta Hagen’s psychological clarity, just as Stanislavski’s internal investigation must be joined with the corporeal specificity of Meyerholdian Biomechanics. Specific aspects of all these master systems feature predominantly in Michael’s ongoing work as director, actor and teacher.