Tina Mitchell

Movement 3 & 4

Classes

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Education

Hailing from Australia, Tina is a graduate of the Adelaide College of the Arts and holds a Masters of Arts Practice specializing in Performance from Charles Sturt University. She has trained extensively with The SITI Company and was their Artistic Associate from 2011-2013. Other training includes The Suzuki Company of Toga, HB Studios and Cicely Berry.


Experience

Tina is a New York based actor, director, teaching artist and theatre maker. Tina is co-Artistic Director of Australian based Chopt Logic Productions, a company dedicated to producing inter-disciplinary, innovative and physically based live performances that reflects socially relevant issues and concerns. She specializes in making work that fuses text, movement and music and has performed in some of the leading Arts festivals in the world. She has worked for many international companies including La Fura dels Baus, the English National Opera, SITI Company, the Adelaide Festival of Arts, Collegiate Chorale at Carnegie Hall, The Brooklyn Philharmonic and The Metropolitan Opera. Tina played Lady Macbeth for Southwest Shakespeare, was one of the main cast members in Punchdrunk’s Sleep No More and appeared in The Event of a Thread with SITI Company. As a teaching artist, Tina has taught actors and student actors of all ages in various institutions including universities, acting conservatories, casting agencies, theatre companies, dance companies, youth theatre companies and high schools in the US, Australia, New Zealand and Colombia, including Atlantic Theater for NYU, Brown University, SITI Company, The University of New Hampshire, The Adelaide College of the Arts, Flinders University, Unitec New Zealand and La Pontificia Universidad Javeriana in Colombia. Tina is a recipient of the Helpmann Academy emerging Director and Mentorship Awards, recipient of a State Theatre Company of South Australia Assistant Director Fellowship and the 2015 Leimay Fellowship. For more information please visit www.tinacmitchell.com, www.miss-julia.org and www.choptlogic.com.au.


Philosophy

As an actor, director and teacher my work is dedicated to finding the full expressive potential of the actor’s body. A rich and resonant voice, coupled with an acute sense of physical awareness is just as important as the spoken word when communicating on the stage.I strongly believe that there is an art to teaching. As a movement teacher I believe it is extremely important to acknowledge that no two people are the same and that everyone has differing levels of physical competency. With this awareness I nurture each students’ strengths and challenge their weaknesses to promote individual growth. I provide honest but constructive criticism that encourages growth but doesn’t lead to disconnection or inhibition. I establish a supportive but challenging environment where I encourage students to take risks and learn from their mistakes whilst working in a rigorous and professional manner. I approach my own work as a performer and teacher as a researcher, continually engaged in questioning and developing my craft. I empower my students to do the same in order to nurture artists who will also be lifelong learners in the field.

Movement Training for Actors

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If an actor has a desire to play rich, complicated characters, they must have an easily accessible and rich temperament.  An actors rage, heartbreak, joy, fear, and grief is most compelling to watch when it flows through a released and pliable body.  The Maggie Flanigan Studio believes a serious actor masters their instrument.  The development of the physical body is a core component of a serious actor’s professional training.

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Teaching Philosophy

As an actor, director and teacher my work is dedicated to finding the full expressive potential of the actor’s body. A rich and resonant voice, coupled with an acute sense of physical awareness is just as important as the spoken word when communicating on the stage.I strongly believe that there is an art to teaching. As a movement teacher I believe it is extremely important to acknowledge that no two people are the same and that everyone has differing levels of physical competency. With this awareness I nurture each students’ strengths and challenge their weaknesses to promote individual growth. I provide honest but constructive criticism that encourages growth but doesn’t lead to disconnection or inhibition. I establish a supportive but challenging environment where I encourage students to take risks and learn from their mistakes whilst working in a rigorous and professional manner. I approach my own work as a performer and teacher as a researcher, continually engaged in questioning and developing my craft. I empower my students to do the same in order to nurture artists who will also be lifelong learners in the field.