“The body never lies” (Martha Graham).


How do I find the body of my character?
How do I experience its posture, gestures, and movement as natural, and make my figure tangibly human?
How do I transform today’s physicality into a contemporary, or historical frame?

As coaching for actors in preparation of the specific physicalities of their characters (for film or stage), the aim is to develop the physical expression of the character in individual work.

It examines how psychology, life circumstances and social context, shapes the behavior of the character, and how the inner motivation, becomes visible in the outer gesture.

Finding them applies to any context, contemporary or historical. It is not the costume that transforms into characters of another era, another reality of life, but the inner attitude that makes the outer appearance come alive.

Beyond language, the physicality of figures is made sensually, physically tangible in coaching.

Through improvisations alone, with a partner, or with a group, a repertoire is developed that acts like a physical matrix of the individual figures and provides for the freedom to act intuitively in the moment of play.
“When I feel the body of a character, I am free in the scene, and feel authentic.“


Expertise from years of working with actors:

  • Since 1993 permanent teaching position at the Otto-Falckenberg-Schule in Munich, in the subject movement with focus on improvisation and dance (contemporary, modern, and historical dances from Renaissance, Baroque, Romanticism, and social dance of the 20s and Tango Argentino).
  • Regular guest for workshops at the Bavarian Theater Academy, the ZHDK Zurich, the Schule für Schauspiel Hamburg and the Konservatorium Vienna.
  • Years of movement and body coaching of actors for theater and film
  • Continuous collaboration with directors as a movement coach and choroegrapher for historical theater and film projects
  • Since 1999 successful choroegrapher and director for contemporary dance theater with interdisciplinary collaboration between dancers and actors at Munich theaters and in the independent scene
  • Study of “Movement Evaluation Graphics (MEG) A System for the Analysis of the Movement Process” by Cary Rick and Claudia Jeschke
  • Further development of viewpoint and contact improvisation techniques for ensemble training in acting and dance, as well as for individual acting coaching


Best practice:

2024 : Body- and movementcoaching  for Katharina Stark / Ottla / FRANZ / director : Agnieszka Holland / KINO

2024 : Body- and movementcoaching for Dominique Devenport / Sisi in “Sisi” Staffel 4 / RTL+

2023 : Body- and movementcoaching for main cast / TITANINNEN / Filmakademie Ludwigsburg

2023 : Body- and movementcoaching for Katharina Stark  /Eva Bruhns / “Deutsches Haus” / Disney +  

2021 : Body- and movementcoaching for Alicia von Rittberg / Elisabeth in “Becoming Elisabeth” /STARZ

2021/ 2022 : Body- and movementcoaching for Dominique Devenport / Sisi in “Sisi” season 1 /season 2 / RTL+

2021 : Accompanying Body- and movementcoaching for Philipp Foissant / Emperor Franz “The Empress” Season 1 / NETFLIX

2021 : Body- and movementcoaching and chorerography for main cast and extras in “Der Passfälscher” / director: Maggie Peren / KINO