Ayse Tashkiran, BA, PGCert, FHEA

Job title

Senior Lecturer, Co-Course Leader MA/MFA Movement: Directing and Teaching


After joining Central in 2003, I became joint Course Leader of the MA/MFA Movement: Directing and Teaching with Vanessa Ewan in 2004. This is the first and oldest course in Europe to train movement directors and movement teachers. I combine my teaching on this course with practice in professional theatre settings as a movement director and as a researcher in the field of movement direction.

My undergraduate degree is in Drama from Bristol University, and I then trained with Lecoq at L'Ecole International Jacques Lecoq for two years in Paris. After leaving the school I spent twelve years as a physical theatre performer and creator: this included a world tour of Voyageur Immobile with La Compagnie Philippe Genty, shows with Toby Jones and Table Show at BAC, the Traverse Theatre and West Yorkshire Playhouse, and site-specific performances for Projet InSitu in Syria, South Africa, and France.  

My movement teaching started at Guildford School of Acting in 1998 where I was Senior Tutor of movement for three years. Movement direction practice had started to develop whilst at Lecoq and now became more formalised alongside teaching. The move to Central enabled me develop and innovate in the teaching of movement direction, whilst also continuing to work as a movement director for theatre productions and companies, such as the Young Vic and the Royal Shakespeare Company.

Other movement teaching includes workshops and mentoring fine artists at Wimbledon College of Art (2007/8); Art of Regeneration and the National Theatre's Next Generation project working with young people from South London to generate new music theatre (2004-6). I have led workshops in France, where I was movement practitioner for Universite d'automne at the Scene Nationale, Chateau-Gontier (2008/9); I taught chorus work for dancers and actors International Workshop Project, Greece (2008). I continue to run movement direction workshops and on movement and presence internationally (Chile, New York).

I have been an External Examiner for MA Theatre Lab at RADA and am a Fellow of the Higher Education Academy.

Current projects include:

Writing the introduction to the re edition of Litz Pisk’s seminal actor movement book, The Actor and his Body Bloomsbury (autumn 2017 – forthcoming)

In visible bodies: A contemporary survey of the work of the movement director in British theatre, for which I am the recipient of The Society for Theatre Research Award, and 2013 and 2009 Sabbatical Leave Awards for research into the History of Movement Direction, Central.

Since 2014, Vanessa Ewan and I have been initiating ways beyond the MA/MFA programme, in which Central as an international centre for actor movement and movement direction, might continue to develop professional movement practitioners and foster research collaborations. We have been delighted to host over 150 movement practitioners at our workshop series as part of the pilot of the ICM. Currently, we are leading a research project that is a unique collaboration between Dr Alexandra Gerstein, art curator at the Courtauld Institute and movement direction practice to run alongside the Rodin Exhibition at the Courtauld 2016-2017.


Movement: Directing and Teaching, MA/MFA

Advanced Theatre Practice, MA/MFA

Research Degrees (MPhil/PhD)

Teaching Areas

  • Movement direction practice and contexts
  • History of movement direction
  • Movement pedagogy
  • Lecoq inspired chorus work, neutral mask
  • Movement for puppeteers
  • Devising practices

PHD Supervision

Supervision offered in areas of movement pedagogy, movement direction, devising practice, and puppetry in relation to training and directorial practice.


Current movement direction includesOthello by William Shakespeare. Directed by Ellen McDougall at The Sam Wanamaker at Shakespeare's Globe, London and Fantastic Mr Fox written by Roald Dahl adapted by Sam Holcroft. Directed by Maria Aberg at the Nuffield Theatre and National and International Tour.

Recent work includes: Lady Chatterley’s Lover directed by Phillip Breen at the Crucible Theatre and National Tour with ETT; Dr Faustus directed by Maria Aberg for the Royal Shakespeare Company in The Swan and Barbican; The York Minster Mystery Plays, directed by Phillip Breen at York Minster (Winner of best production York Culture Awards 2016); The Government Inspector, directed by Roxana Silbert at Birmingham Repertory Theatre and National Tour; Barbarians (Young Vic) production nominated at the Oliviers 2016, Hecuba, The White Devil, Shoemaker’s Holiday, As You Like It, The Merry Wives of Windsor, King John, Richard lll and Measure for Measure (Royal Shakespeare Company), Sssh Bang (Peut Être Theatre National Tour), Wildefire (Hampstead Theatre), Much Ado About Nothing (Royal Exchange), The Sleeper (Welsh National Opera Max), Little Eagles (RSC at the Hampstead Theatre), The Chairs (Theatre Royal Bath), Day of Significance (RSC, tour) and Sweeney Todd (Welsh National Opera MAX).

Presentations and Curation includes:

2017. Teaching movement directors of the future. Labanarium, University of Surrey

2014. History of Movement Direction, video for the National Theatre.

2011. Movement in the 1960s, Royal Shakespeare Company 50th Anniversary, Royal Shakespeare Company Stratford-upon-Avon

2009. Convenor and chair, Roundtable of Movement Directors in Conversation and curator of the Litz Pisk Masterclasses, Royal Central School of Speech & Drama

Key Publications

Forthcoming, 2017. The Actor and His Body by Litz Pisk, introduction by Ayse Tashkiran (Bloomsbury, Methuen)

2016. ‘British Movement Directors’ in The Routledge Companion to Jacques Lecoq, edited by Rick Kemp and Mark Evans (Abingdon; Routledge, 2016).

Register of Interest

Nothing to declare.