INES BUCHLI is a theatre director, dramaturg, film maker and writer. She holds an MFA in Directing from York University. Ines is the former associate artistic director of Necessary Angel Theatre and associate artist for Theatre Direct. She has over 35 years of theatre experience in directing, dramaturgy and collective creations. Her films Exposure, Ministry and Keeper aired nationally and screened in numerous international film festivals. She is a graduate of the directing lab at the Canadian Film Centre.
Her award winning short, Foxy Lady, Wild Cherry premiered at the Toronto International Film Festival and has screened around the world. Ines adapted and directed the Canadian premiere of Big Love by Charles Mee and the North American premiere of Comedy of Vanity by Elias Canetti at York University. She is actively involved in using theatre as a tool for community outreach work, working in Kenya with young girls rescued from the sex trade. Ines directed a sold out production of Macbeth for Shakespeare in Action. She was a member of the Tarragon Playwright’s Unit and is actively developing her play, Skin to Skin. Ines directed the world premiere of the multimedia production of The Secret Doctrine by Patricia Gruben at the Wong Theatre in Vancouver. She directed and dramturged The Living, by Governor General Award winner Colleen Wagner, for SummerWorks, garnering awards for Best Direction and Best Production.
Ines’ creative research focuses on the neuroscience of emotion and its application to acting. In 2014 she began training in the Alba Method under the guidance of master teacher Laura Bond. Ines has a Level 4 certification in Alba and EB5, the instructor level in Emotional Body. Ines Buchli taught acting and directing for many years at York University, where she served as both Chair of the Department and the Graduate Programme Director. Ines is currently continuing her research in emotion as a Senior Scholar at York.
With over 35 years of experience in the field TOM STROUD is a choreographer and director known for his integrated approach to theater and dance. A graduate of the Simon Fraser University School for the Performing Arts, he has performed and toured with companies across the country and his works have been commissioned and presented by companies, festivals, and presenters coast to coast.
In 1991 Tom was appointed as the Artistic Director of Winnipeg’s Contemporary Dancers (WCD) where, during his 14-year tenure, Stroud created numerous works for the company and spearheaded national and international collaborations that resulted in residencies and performances in Canada, the United States and Mexico. In 2002, he was awarded the prestigious Choo San Goh Award for choreography.
Tom is also the Artistic Director of Company Link Inc, an organization dedicated to the Experimental Theatre and Dance artists living and working in Winnipeg. In addition to supporting Tom’s creative pursuits, the company hosts ongoing training workshops and annual creation projects.
In 2005 Stroud joined the faculty of the Department of Theatre and Film at the University of Winnipeg as a specialist in movement was instrumental in introducing new curriculum in the Acting Stream. He currently holds the rank of Associate Professor and his teaching compliment includes movement, embodiment for actors, image-based theatre, acting, as well as directing productions for the department.
Tom’s research examines emotion science, embodiment, and the actor’s creative process in contemporary performance practice. In 2012 Tom began training in the Emotional Effector Patterns under the guidance of master teacher Laura Bond. He is currently an Emotional Body Instructor and a certified Alba teacher.
GAYLE MURPHY has specialized in breath and the speaking voice for actors and other professional speakers for over thirty years. Gayle coaches actors for stage and screen, and has led voice workshops in Bangkok, Hong Kong and major cities throughout Canada. She is an Associate Professor in the Department of Theatre and Film at the University of British Columbia and is on the faculty of Canada’s National Voice Intensive. She has also taught at Vancouver Playhouse Acting School, Studio 58, and SFU’s School for the Contemporary Arts. Prior to specializing in voice, she acted professionally across Canada for over ten years. She holds an MFA in Theatre Performance from York University.
Her creative research focuses on the integration of vocal and physical practices for actors. From 2003 to 2007, she was a member of a collective of actors, dancers, and theatre educators who investigated Authentic Movement as a rehearsal practice for the creation of a theatre piece on the theme of the mythic and contemporary Cassandra. Currently she continues to investigate the integration of Breathexperience with vocal practice for the actor. She has presented her collaborative research at numerous conferences including the American Dance Therapy Conference (Minneapolis), Voice and Speech Teachers Association’s Conference (Montreal), International Arts Symposium: Artists of Conscience (Victoria), Wellspring Conference: Encounters with Trauma, Hope and Healing (Vancouver), and the International Myth and Theatre Festival’s VOICES at the Roy Hart International Centre (Malérargues, France).
In 2013 she was certified in Breathexperience and became one of five Canadian practitioners. She is a co-director of Breathexperience Canada. Breathexperience is the foundation of her voice-coaching and teaching practice.
LAURA BOND is an internationally recognized master instructor and teacher trainer in the emotional effector patterns, and the Emotional Body® courses. She is a master teacher of Alba Emoting™, having studied an intensive teacher-training path in Chile with its founder, Susana Bloch. Laura is a full professor at the University of North Carolina Asheville and a certified master teacher of the Estill Voice™ technique. She teaches physical emotion regulation methods in university classes, private lessons, and through national and international workshops. She is the author of two books: TEAM for Actors: A Holistic Approach to Embodied Acting, and The Emotional Body: A Method for Physical Self-Regulation.
"Laura Bond offered a good-humored and enthusiastic exploration of the Emotional Effector Patterns which, at first glance felt intimidating and complex. With expert ease, she managed to break down the learning process into easy-to-digest portions and had confident, detailed, patient answers at the ready as our curiosity grew with each new step. Speaking neither down to us nor over our heads, Laura matter-of-factly gave us the tools, information, and support we needed to do and explore the work. From providing a safe emotional space to neuro-scientific explanations and everything in-between, she had it all. I will be eagerly awaiting the next workshop in my area to deepen my understanding of this brilliant and under-utilized emotional method. If you’re working in any field that requires emotional labor or emotional management, you should attend this workshop and read Laura Bond’s book, Emotional Body."
– Margaret Hild, Actor/Director/Spoken Voice Coach (Toronto Training, 2018) .
SARAH PETTY received her BA (Hons) in a double major of Theatre & Film and Psychology from the University of Winnipeg. She completed her Masters degree in Clinical Psychology from the University of Manitoba and is currently pursuing her Ph.D. She is interested in therapeutic modalities that include a focus on emotions. This interest combined with her training in theatre has led to her involvement in the present research group and the emotional effector patterns (EEP).
VICTORIA CARELLA is a research assistant for the Emotional Fluency Project. She is entering her fourth year as a student at York studying Performance Creation and Research, with a specialization in Devised Theatre. Victoria is interested in creating from a feminist perspective and has a particular interest in physical theatre. Recent theatre credits include A Friend of Dorothy (York PlayGround Festival), and What You Egg (Vanier College Productions Fringe Festival).
JACOB HOPE is a former research assistant for the Emotional Fluency Project. He has experience in devising, directing, and play writing as well as a specialist high skills major in ICT. Jacob is a fourth year student in the Devised Theatre program at York University. During his time at York he was an assistant artistic director for the playGround festival 2017, he was a musician for the Devised Theatre Festival 2017 and he wrote and directed Post-Pracki for playGround 2018.
EMILY HUGHES is a former set, costume, lighting, and sound designer for the Emotional Fluency Project as a part of Research at York. She is a fourth year Theatre student specializing in Production and Design at York University. She has worked on many projects during her time at York, including the recent productions of Orlando (Head Electrician) and rochdale (Head of Props). Her recent design roles include still in flux (Lighting) in Dance Innovations at York (later remounted in abunDANCE) as well as Let’s Have an Orgy! (Lighting) and CLIT. (Costume, Makeup, Wigs) in Theatre @ York’s playGround Festival where she also was the Co-Director/Playwright of A Friend of Dorothy. She will also be making her debut as a Projections/Media designer in Theatre @ York’s upcoming production of Elizabeth Rex. Emily is also a freelance painter, illustrator, dancer, and all-around arts enthusiast.
RIKKI KATARINA is a former research assistant for the Emotional Fluency Project and a recent Honours Grad from York University in Theatre Studies. Throughout her training, she’s had experience in play writing, directing, video editing, website design, sound recording/post-production and various on-set/crew positions.
Rikki’s ability to approach her work with professionalism has been recognized by the John Abbott College Theatre Department where she studied Acting and received the Pamela Montgomery award for professionalism upon graduation. A native of Montreal, she now resides in Toronto.
She was a member of the JAC Theatre MTL collective and played an important role in devising This Day in December for the 2015 Edinburgh Fringe. This piece commemorated the 14 women who lost their lives 25 years before at the École Polytechnique de Montréal.
Her credits include ensemble in This Day In December, Goneril in Lear, Mrs. Bellotti in Hot L Baltimore and Miss Hannigan in Annie.