Lindsey Ball (they/them) is an artist, maker, clown, and crybaby. A native Texan (USA) and current MFA student at Columbia College Chicago/Arthaus, Ball has had the extreme fortune to work for Next Iteration Ensemble, Horse Head Theatre Co., Luciole International Theatre Company, Strange N Unusual Productions, The Landing Theatre Company, Cone Man Running Productions, Obsidian Art Space, Big Head Productions, and the O'Kane Theatre at UHD. Ball also performed in an Original Pronunciation production of Julius Caesar which traveled to Edinburgh, Scotland for presentation at the Edinburgh Fringe Festival in 2013. They currently serve as a Company Member for Next Iteration Ensemble, and have previously served on the Advisory Board for Horse Head (RIP) and the Board of Directors for Landing Theatre Company. In addition to traditional performance and administrative work, Ball has done vocal work for several podcasts and audio dramas, as well as written, directed, and performed for a sketch comedy and an improv troupe. Ball yearns to make work that embraces messy feelings through the lens of a DIY/maker's aesthetic, and also just kind of wants to disappear into a really good book.
Camilla (she/her), born in Torino (Italy), is a theatre practitioner. She graduated from the University of Turin in Cultures and Literatures of the Modern World with a thesis in Semiotics and Comparative Literature. She subsequently obtained a master degree in Communications from the University of Lyon and two other diplomas, entrepreneurship and UX Design. After after several years of theatre practice (with different techniques and styles, in particular Meisner technique), and dance (hip-hop, contemporary and acrobatic), she enrolled in Arthaus Berlin. She approaches creation through embodying dreams and images with a very interdisciplinary approach.
Ilaria De Luca
Ilaria (she/her) approached performing arts through dance and movement. After a diploma course at Moveo (physical theatre and corporeal mime centre in Barcelona, Spain), she has moved to Berlin to participate to the Arthaus Berlin program and is part of the Rose Bruford's MFA program. She is interested in devising as a theatre maker, but also, as a future facilitator, she is interested in bringing through theatre listening and acceptance of oneself and others.
Toph (he/him) is an artmaker who was born in Connellsvile, PA (USA). Prior to studying at arthaus, he worked and performed in cities across the US and the UK. He has had the pleasure of training with Phillippe Gaulier (two years), SITI Company, Larry Moss, and many other great teachers that he will not fill the space with but that fill his heart (awwwww). He has more questions than answers and is usually okay with that.
Lucy (she/her) is a performer and theater maker. After graduating from University of York with a BA in Theatre: writing directing and performing she came to Berlin to participate n the two year program in Arthaus. She is interested in mixing medium to tell stories.
Kat (they/them) began their theater training by receiving a Bachelor's Degree in Acting from Towson University in Baltimore, Maryland in the USA. While there they were introduced to the practice of devising and performance cretion, and post graduating shifted their focus from actor to devisor. Prior to their enrollment at Columbia College Chicago and time at Arthaus Berlin they were a lead company member and creator at The Oven Theatre Company in Baltimore, a company that focused on creating activist theater. They believe in work that uplifts marginalized voices and are passionate about inspiring hope.
Abbi (she/her) is an actor, director, playwright, and acting coach/teacher from the US. After graduating with her BA in Theatre from Willamette University, she produced and performed work across the country and instructed students in the Meisner and Michael Chekov techniques before traveling to Chicago and now Berlin to earn her MFA in European Devised Performance from Columbia College Chicago in association with Arthaus. A multi-faceted and collaborative artist, she is interested in researching the stories (and storytellers) that shape us as well as breaking down old, oppressive structures to create more inclusive and uplifting spaces that spotlight the voices which are seldom heard.
Imogen (she/her) is a dancer, writer and producer. After graduating from King’s College London with a B.A Hons in English Language & Literature. Imogen moved to New York and worked as a dancer, artistic producer, curator and dramaturg. In 2020, Imogen moved to Germany and enrolled in the two year master's program of Theater and Performance at Art Haus Berlin.
Fynta (she/her) is a Guinean-American performer, writer, dancer, storyteller, and creator. Born in New York, the Bronx, raised in Guinea, West Africa. Fynta obtained her Bachelor's degree of Arts in 2015, studying Theater and Dance from Hampshire College in Amherst, Massachusetts. She is currently pursuing her MFA degree from Columbia College Chigaco, focusing on devised physical theater. Performing and creating performance is Fynta's way of expressing and telling necessary narratives. Fynta's role in the performing arts world is her desire to heal, make a difference, and inspire people. She has studied traditional arts from Cuba, South Africa, Guinea, and this year Fynta is training in Germany Berlin in physical theatre with Lispa Arthuas. Fynta travels to these places and learns because she wants to create works that speak to people from different walks of life. Her work is rooted in culture, language, ritual, social justice, and representation. "Arts is my vehicle to being radical!"
Jean-Charles (he/him) is a French creator who has worked as an actor, director, and Meisner technique teacher in France from 2013 to 2020. He initially trained in the Acting Studio in Lyon, and then with Keith Farquhar from Moment to Moment Acting, while working for multiple theater companies in Lyon & Paris. On discovering the corporeal mime of Etienne Decroux, he embraced a physical approach to theater and consequently joined Arthaus Berlin in search of a more embodied dramaturgy.