Masterclasses

Sinéad is a specialist in the Michael Chekhov acting technique and Meyerhold’s Biomechanics.

  • 2021, 14-18 June: Michael Chekhov International Association Festival and Conference (MICHA). Devising Theatre Workshop, inspired by Song of Myself by Walt Whitman.
  • 2020, 7 November: Michael Chekhov’s Feeling of Beauty [online]. Michael Chekhov UK. Text: poems by Gwendolyn Brooks.
  • 2020, 8 August: Devising from Michael Chekhov technique [online]. Theatre Kapow, New Hampshire, USA.
  • 2020, 2-7 August: Michael Chekhov Intensive Study Week with Living Pictures: Practical Application. Playtext: Our Country’s Good by Timberlake Wertenbaker.
  • 2020, 27 June: Image and the Imagination Workshop. Pushkin House, London.
  • 2020, 22-26 June: Text Analysis for Directors. Michael Chekhov Association USA international workshop 2020. Playtext: Our Country’s Good by Timberlake Wertenbaker.
  • 2020, 1 April-4 June: Text Analysis for Directors. Theatre and Dance Department, University of California, Davis, USA. Part of Granada Artist-in-Residence. Playtext: Julius Caesar.
  • 2020, 6 March: Radical Transformation. The Actor’s Centre, London.
  • 2020, 18-19 January: Introduction to Michael Chekhov technique. Theatre Genedlaethol Cymru, Wales. Director’s programme. Our Country’s Good by Timberlake Wertenbaker.
  • 2019, 2 March: Introduction to Michael Chekhov technique. Pushkin House, London.
  • 2019 (2 days): Introduction to Michael Chekhov technique. University of Wales, Trinity Saint David. Playtext: Three Sisters.
  • 2018 (1 day): Unlocking Shakespeare with Michael Chekhov technique. Living Pictures Summer School, Coed Dylan, Camarthen, Wales. Playtext: Othello.
  • 2018 (1 week): Directing with Michael Chekhov Technique. Arts on Location, Bangkok, Thailand. Playtext: The Crucible by Arthur Miller.
  • 2017 (1 week): Introduction to Michael Chekhov Technique. Arts on Location, Bangkok, Thailand.
  • 2017 (half-day): Introduction to Michael Chekhov Technique. Birmingham School of Acting, second year students.
  • 2016 (1/2 day): Michael Chekhov Technique for Theatre Design. Michael Chekhov in the Twenty-First Century: New Pathways. Three day Symposium at Goldsmith’s College, London.
  • 2016 (4 days): Michael Chekhov masterclass. The Street Theatre, Canberra, Australia. Playtext: The Cherry Orchard by Anton Chekhov.
  • 2016 (2 days): Michael Chekhov masterclass. Victoria College of the Arts, Melbourne, Australia. Playtext: The Cherry Orchard by Anton Chekhov.
  • 2016 (1 day). Michael Chekhov masterclass. Australia National University Theatre, Canberra, Australia. Playtext: The Cherry Orchard by Anton Chekhov.
  • 2016 (2 days): Composition and The Actor: What to do About Blocking. Actor’s Centre, London. Playtext: Betrayal by Harold Pinter.
  • 2016 (1 week): Introduction to Michael Chekhov Technique. Dirks Theatre, Macao, China. Playtext: Three Sisters by Anton Chekhov.
  • 2016 (2 days): Michael Chekhov Technique for directors. Regional Theatre Young Director’s Scheme, Newcastle. In collaboration with Curious Monkey. Playtext: Betrayal by Harold Pinter.
  • 2016 (10 weeks): Introduction to Biomechanics. Independent Centre for Actor Training, London.
  • 2015 (2 weeks): Introduction to Michael Chekhov Technique. Academy of the Arts, Iceland.
  • 2015 (1/2 day): Introduction to Michael Chekhov Technique. National Theatre Studio Director’s Programme. Playtext: Blood Wedding.
  • 2015 (2 days): Building a Character. Jerwood Space/Living Pictures. Playtext: Romeo and Juliet.
  • 2015 (2 days): How to be Present 2. Central School of Speech and Drama. Playtext: The Seagull.
  • 2014 (1 day): What is an Actor? Guildford School of Acting, Surrey.
  • 2014 (2 days): How to be Present: The Actor and the Audience. An exploration of Michael Chekhov and Kristin Linklater. With Daron Oram. Actor’s Centre, London. Playtext: The Seagull.
  • 2014 (4 days): An Exploration of Meyerhold’s Biomechanics. Dirks Theatre, Macau, China.
  • 2014 (1 day): Presence and the actor. Florida State University/Asolo Conservatory for Actor Training, London campus.
  • 2013 (1 day): Introduction to Michael Chekhov Technique for directors. Sherman Cymru Theatre, Cardiff, Wales. Playtext: Hamlet.
  • 2013 (two days): Image and the actor’s imagination. Actor’s Centre, London. Playtext: Hamlet.
  • 2012 (two days): Exploring Michael Chekhov’s archetype and Stanislavsky’s super-objective. Actor’s Centre, London. Playtext; Othello.
  • 2012 (2 days): Introduction to Michael Chekhov Technique for opera singers, ENO, Operaworks. Playtext: Three Sisters, Chekhov.
  • 2011 (weekend): Introduction to Michael Chekhov Technique for actors and directors, Chapter Arts Centre, Cardiff. Playtext: Diary of a Madman, Gogol.
  • 2011 (weekend): Introduction to Michael Chekhov Technique for actors. Actor’s Centre, London.
  • 2010 (weekend): Introduction to Michael Chekhov Technique for actors and directors, Living Pictures, London. Playtext: Blood Wedding, Lorca.
  • 2010 (ten days): Introduction to Michael Chekhov Technique for actors, Living Pictures, London. Playtext: Diary of a Madman, Gogol.
  • 2010: Introduction to Biomechanics for development workshop on Mayakovsky’s The Bedbug at Jerwood Space and Young Vic Theatre (London).
  • 2010 (one week): ‘Presence in Performance’. Dance and Music at Irish World Music Centre, University of Limerick (Ireland).