In 2013 the festival’s theme was “the audience”. The festival tried to question, problematize, explore and research performance approaches and acting techniques related to the audience: What happens when the audience is included from an early development stage of the performance? How can an actor train and strengthen his/her abilities to interact with the audience? How can a performance be created without losing focus from the audience in the rehearsal phase? What does the statement “enter into a dialogue with the audience” actually mean? How can a performer become aware of the audience role? Do different aesthetics need different audiences? Is the history of theater and performance also the history of audience perception? To what grade is the artist to change the world of the audience and to what grade is the audience to change the world of the performance? 



program oiaf oppdatert 11.4




Click the image to view the program full size.



Performativity and the audience: Richard Schechner
Political activism: The Yes Men
Audience as impulse: Laurent Chetouane
Audience as concept: Fix & Foxy
Theatre of the oppressed: Gisella Mendoza
Lecture performance: Veronika Bökkelmann



Performativity and the audience
Richard Schechner – The first director of the legendary Wooster groups and one of the most central theoreticians and practitioners in American performance studies. Schechner has written a number of important books on performativity, theatre and society, and is today professor at Tisch School of the Arts, New York. The workshop will be centered around the relationship between the actor, the theatre and the audience. More


Political activism
The Yes Men – American activist group who often hit the news pretending to speak on behalf of large corporations. Through this method, they have several times raised important issues in the media. One example was their stunt on CNN where they pretended to be spokesmen for Dow Chemical, making statements about their poisoning of rivers in India. This is a workshop about political activism using the tools of the actor and the theatre, and about invisible theatre as an activist strategy. More


Audience as impulse
Laurent Chetouane – Originally a French choreographer, he now directs shows on all continents. Chetouane has become famous for making performances that demand the actor to listen intensely, both to the other actors and to the audience. A workshop about letting the actor’s impulse for text and action arise from the dialogue with the audience. More


Audience as concept
Fix & Foxy – This Danish theatre company use the audience as the starting point for their innovative performance concepts. Both their staging of Leni Riefenstahls Nazi propaganda film “Triumph of the will” with the audience playing the masses and their version of “Pretty Women” where they hired an actual prostitute for the night, and got her to play the main part, received considerable attention in Denmark. A workshop about developing concept based, audience oriented performances. More


Theatre of the oppressed
Gisella Mendoza – South American theatre maker who worked closely with Augusto Boal developing the theatre of the oppressed. The so called «forum theatre» had pedagogical and political aims, exploring the possibility of participating in society and changing it, seeking to empower the public. The workshop deals with how the audience can become an active, acting part of a theatre performance. More


Lecture performance
Veronika Bökkelmann – Bökkelmann is a German theatre artist who has produced a number of documentary and site specific performances in Europe and South America. A lecture performance is a genre which combines the aesthetics and purpose of theatre and lectures. The form makes the audience into recipients of knowledge as much as of an aesthetic experience. The workshop will focus on the production of lecture performances and site-specific documentary theatre. More


For videos from 2013, follow this YouTube link.




The 2012 Oslo International Acting Festival had focus on a confrontation between the System of Constantin Stanislavsky – used in the school as the main pedagogical approach – with other German and American acting traditions. From America, the derivation of Stanislavsky’s ideas with Micheal Chechov, and the two most important personalities of the Group Theater, Sanford Meisner and Lee Strasberg, and from the new groundbreaking ideas from German theater tradition such as Brecht and post-dramatic approaches.


Program Oslo International Acting Festival 2012

Click the image to view the program full size.



From the CONSTANTIN STANISLAVSKY acting system: Hans Henriksen (Kunsthøgskolen i Oslo – Oslo National Academy of the Arts).

From the MICHAEL CHEKOV technique: Lenard Petit (Michael Chekov Acting Studio, New York)

From GOB SQUAD theater group: Gob Squad (Berlin, Germany)

From the LEE STRASBERG technique, “The Method”: Ed Setrakian (Actors’ Studio, New York)

From the BERTOLT BRECHT tradition: Michael Keller and Harald Fuhrmann (Ernst Bush Acting School, Berlin)

From the SANFORD MEISNER technique: William Esper (William Esper Studio, New York)

From the ACTING TRAINING AS ARTISTIC RESEARCH – the withdrawal of technique: Karmenlara Ely (Norwegian Theater Academy, Østfold University College)



HANS HENRIKSEN has his directing education from The National Academy of Theatre Art, St.Petersburg. Together with the Russian director and pedagogue Irina Malochevskja he played a major role in building up a new pedagogical model of the directing and acting education in the Academy of theater at The Oslo National Academy of the Arts. Hans Henriksen is now a professor and works as a director in Norway and abroad.

youtube-transparent-logo Interview with Hans Henriksen

youtube-transparent-logo Following debate

LENARD PETIT director of the Michael Chekov Acting Studio in New York, Petit works as a director, actor and acting trainer. His productions are well-known the world over. Petit is one of the Michael Chekov method’s most ardent practitioners. He has taught at Rutgers University, the Theatre of Art in Moscow, the International School for Film and Television in Munich, and the University of Helsinki.

youtube-transparent-logo Interview with Lenard Petit

youtube-transparent-logo Following debate

GOB SQUAD is a group of UK and German artists, started in 1994 in Nottingham, but now more or less based in Berlin. Gob Squad is an artist collective, the 7 core members working collaboratively on the concept, direction and performance of their work. Gob Squad try and explore the point where theatre meets art, media and real life. As well as theatres and galleries, they place their work at the heart of urban life – in houses, shops, underground stations, car parks, hotels or directly on the street. Everyday life and magic, banality and utopia, reality and entertainment are all set on a collision course and the audience is often asked to step beyond their traditional role as passive spectators and bear witness to the results.

youtube-transparent-logo Interview with Gob Squad coming up..

youtube-transparent-logo Following debate coming up…

ED SETRAKIAN has a long career as an Off-Broadway and regional theatre director. For two years he was director of the La Mama Ensemble. He directed several major productions at the Actors Studio where he is the head of the playwrights and director unit. He wrote and directed the documentary THE GROWTH OF OUR CHILDREN. Mr. Setrakian is a veteran actor with many credits on Broadway, Off-Broadway and in film and TV. Ed Setrakian has a P.h.D. in Performance Studies from NYU.

youtube-transparent-logo Interview with Ed Setrakian

youtube-transparent-logo Following debate

Prof. Michael Keller graduated in drama and education. He worked as an actor and director at various theaters in Germany and in film and television. 
Since 1981 he works as a lecturer at the School of Dramatic Arts “Ernst Busch” in Berlin. Since 1996 he has been professor and for 13 years also head of the drama department. For 16 years he has taught the so-called “improvisation and basic course” for the students in the 
freshman year. 
For 20 years he has been coaching actors from film and television, given master classes all over the world, and been a recognized trainer for lawyers, managers and executives from politics and economy.

HARRY FUHRMANN ended his theatrical studies in 1995 at the Academy of Music and Theatre Hamburg and worked for several years as an actor at various theaters in Germany. From 1998–2002 he studied directing at the Academy of Dramatic Art, Ernst Busch in Berlin. 
In 2004 he founded the “Flying Fish” Theatre Group, and he has also worked in theaters as the Nationaltheater Mannheim, Neues Theater Halle, Staatstheater Mainz, Theater Bern, Badisches Staatstheater Karlsruhe, Staatstheater Cottbus, Theater Baden-Baden and Theater Augsburg. He is theatrical lecturer at the School of Dramatic Arts “Ernst Busch” Berlin.

youtube-transparent-logo Interview with Michael Keller and Harry Fuhrmann

youtube-transparent-logo Following debate coming up

WILLIAM ESPER, a member of the team of Sanford Meisner at the Neighborhood Playhouse of New York, Esper founded his own studio in 1965. He has taught in both inside the United States and internationally, and has directed the acting program of Rutgers University’s Mason School of the Arts. He currently works as an art director and is a member of the Ensemble Studio Theatre in New York.

youtube-transparent-logo Interview with William Esper

youtube-transparent-logo Following debate

DR. KARMENLARA ELY is the Artistic Director of the Acting program at Norwegian Theater Academy in Fredrikstad. Karmenlara has a Phd in Performance Studies where she studied under Richard Schechner, Barbara Browning and Peggy Phelan, among others.She has a broad pedagogical from New York University’s Tisch School of the Arts, she has also been an part of the historic Spiderwoman Theater based in New York City. Heavily influenced by her experience as a dancer and physical performer in both festival and stage genres, her topics of inquiry examine the critical role of the body in taboo breaking and the complexities of erotic pleasure in the creation of art.

youtube-transparent-logo Interview with Karmenlara Ely

youtube-transparent-logo Following debate





ENCEPA- Expanded territories


Dramatikkens hus

Den norske filmskolen

Akademiet for scenekunst, Høgskolen i Østfold

Black Box teater

Norsk filminstitutt