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Education

Tina is a New York based international theater artist from Australia and works as an actor, director, theater maker, teaching artist and University Lecturer. She began her theater education in Australia where she trained at the Adelaide College of the Arts. She also holds a Masters of Arts Practice specializing in Performance from Charles Sturt University. Tina received extensive training in Laban at the Center of the Performing Arts and came to the United States to train with the SITI Company. Tina has trained extensively with The SITI Company for over 15 years and shares the training the company utilizes, The Suzuki Method of Actor Training and the Viewpoints across the globe. Tina has trained with the Suzuki Company of Toga, Cicely Berry from the Royal Shakespeare Company, HB Studios and is a registered practitioner of the Lessac Voice Technique.

Experience

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. As an independent theater maker Tina has created work in the United States, Colombia and Australia and her work has been included in many international arts festivals in Italy, Colombia, Spain, Australia and in theaters across the US. She has worked for many international companies including Spain’s La Fura dels Baus, the English National Opera, SITI Company, the Adelaide Festival of Arts, Collegiate Chorale at Carnegie Hall and The Brooklyn Philharmonic. Tina was part of the cast of Punchdrunk’s Obie Award Winning Sleep No More and appeared in The Event of a Thread with SITI Company at The Park Avenue Armory. Tina has worked with The Metropolitan Opera on Wozzeck and Lulu, both directed by William Kentridge. She is currently Head of Physical Theater and Movement as an Assistant Professor at Long Island University and has taught for many institutions including Barnard College for Columbia School of the Arts, Brown University, NYU and Atlantic Theater School. For more information, visit www.tinacmitchell.com.

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.