Blending Practice, Research, and Inonvation in Actor Training
From the Stage to the Studio, and Back Again
From the Stage to the Studio, and Back Again
Unfold the Story ↓
Act One
From Performance to Pedagogy
Act One
From Performance to Pedagogy
Act One
From Performance to Pedagogy
On Stage: A Collection of Roles
Selected stills from performances across classical and contemporary theatre
On Stage: A Collection of Roles
Selected stills from performances across classical and contemporary theatre.
On Stage: A Collection of Roles
Selected stills from performances across classical and contemporary theatre
How does an actor bring words to life, transforming text into a dynamic, embodied presence?
My journey began as a performer, training in the rigorous conservatoire system at the Central Academy of Drama. Immersed in both classical and contemporary techniques, I gained a deep understanding of the physical and emotional demands of acting.
How does an actor bring words to life, transforming text into a dynamic, embodied presence?
My journey began as a performer, training in the rigorous conservatoire system at the Central Academy of Drama. Immersed in both classical and contemporary techniques, I gained a deep understanding of the physical and emotional demands of acting.
Academic Background:
BA in Acting – Central Academy of Drama
MA & PhD in Theatre Studies – Central Academy of Drama
Academic Background:
BA in Acting – Central Academy of Drama
MA & PhD in Theatre Studies – Central Academy of Drama
Yet, even as I inhabited roles on stage, I became increasingly fascinated by the mechanics of the craft. What truly allows an actor to bridge the gap between text and lived experience?
This question ultimately led me to shift my focus from performance to actor training. For nearly a decade, I taught at Shanghai Theatre Academy, designing and leading BA-level conservatoire programs, directing student productions, and exploring innovative ways to integrate Eastern and Western performance methodologies into actor training.
How does an actor transform words on a page into a living, breathing presence?
I began my journey as a performer, training in the rigorous conservatoire system at the Central Academy of Drama. Immersed in both classical and contemporary techniques, I developed a deep appreciation for the physical and emotional demands of acting.
Yet, even as I inhabited roles on stage, I became increasingly fascinated by the mechanics of the craft. What truly allows an actor to bridge the gap between text and lived experience?
This question ultimately led me to shift my focus from performance to actor training. For nearly a decade, I taught at Shanghai Theatre Academy, designing and leading BA-level conservatoire programs, directing student productions, and exploring innovative ways to integrate Eastern and Western performance methodologies into actor training.
Academic Background:
BA in Acting – Central Academy of Drama
MA & PhD in Theatre Studies – Central Academy of Drama
Yet, even as I embodied characters on stage, I found myself drawn to the mechanics of the craft: What truly enables an actor to bridge the gap between text and life?
This question led me to shift my focus from performing to actor training. For nearly a decade, I taught at Shanghai Theatre Academy, where I designed and led BA-level conservatoire training programs, directed student productions, and explored new ways to integrate Eastern and Western performance methodologies into actor training.
Act Two
Expanding Training Methodologies
Act Two
Expanding Training Methodologies
Act Two
Expanding Training Methodologies
In the Director’s Seat
A collection of projects I have directed or contributed to creatively.
In the Director’s Seat
A collection of projects I have directed or contributed to creatively.
In the Director’s Seat
A collection of projects I have directed or contributed to creatively
To refine my approach, I moved to London to pursue an MFA in Training and Coaching at the Royal Central School of Speech and Drama (RCSSD). This pivotal experience allowed me to critically reexamine and innovate my teaching methodologies, shaping my perspective as both a practitioner and researcher.
To refine my approach, I moved to London to pursue an MFA in Training and Coaching at the Royal Central School of Speech and Drama (RCSSD). This pivotal experience allowed me to critically reexamine and innovate my teaching methodologies, shaping my perspective as both a practitioner and researcher.
Teaching & Research Experience:
Full-time Lecturer, Shanghai Theatre Academy (8 years)
MFA in Actor Training & Coaching, RCSSD
Teaching & Research Experience:
Full-time Lecturer, Shanghai Theatre Academy (8 years)
MFA in Actor Training & Coaching, RCSSD
My research bridges Stanislavski-based methodologies, Actioning, Laban, and Traditional Chinese Opera, incorporating Daoist Wuwei principles to enhance embodied cognition, risk-taking, and emotional authenticity in actor training.
To refine my approach, I moved to London to pursue an MFA in Training and Coaching at the Royal Central School of Speech and Drama (RCSSD). This pivotal experience allowed me to critically reexamine and innovate my teaching methodologies, shaping my perspective as both a practitioner and researcher.
My research bridges Stanislavski-based methodologies, Actioning, Laban, and Traditional Chinese Opera, incorporating Daoist Wuwei principles to enhance embodied cognition, risk-taking, and emotional authenticity in actor training.
Teaching & Research Experience:
Full-time Lecturer, Shanghai Theatre Academy (8 years)
MFA in Actor Training & Coaching, RCSSD
My research bridges Stanislavski-based methodologies, Actioning, Laban, and Traditional Chinese Opera, incorporating Daoist Wuwei principles to enhance embodied cognition, risk-taking, and emotional authenticity in actor training.
Act Three
Innovating Actor Training
Act Three
Innovating Actor Training
Act Three
Innovating Actor Training
Inside the Experimental Studio
Where Actor Training Meets Performance Research
Inside the Experimental Studio
Where Actor Training Meets Performance Research
Inside the Experimental Studio
Where Actor Training Meets Performance Research
‘A radical rethink of Stanislavski’s communication.’ — TDPT (2024)
‘A radical rethink of Stanislavski’s communication.’ — TDPT (2024)
‘A radical rethink of Stanislavski’s communication.’ — TDPT (2024)
As a practice-based researcher, my work explores:
Intercultural Actor Training – Investigating how Eastern physical training can be integrated with Western acting methodologies.
Visual Methodologies in Actor Training – Utilizing Rich-Picture methodology to deepen embodied cognition.
The Cross-Cultural Application of Actioning – Expanding and adapting Actioning beyond its traditional regional frameworks.
As a practice-based researcher, my work explores:
Intercultural Actor Training – Investigating how Eastern physical training can be integrated with Western acting methodologies.
Visual Methodologies in Actor Training – Utilizing Rich-Picture methodology to deepen embodied cognition.
The Cross-Cultural Application of Actioning – Expanding and adapting Actioning beyond its traditional regional frameworks.
Currently, I am a Visiting Research Associate Professor at the Central Academy of Drama, where I lead intercultural actor training projects through workshops, masterclasses, and practice-as-research initiatives. Alongside my academic role, I am the Founder & Artistic Director of QI Performing Arts Ltd., dedicated to bridging practice and research in actor training.
Currently, I am a Visiting Research Associate Professor at the Central Academy of Drama, where I lead intercultural actor training projects through workshops, masterclasses, and practice-as-research initiatives. Alongside my academic role, I am the Founder & Artistic Director of QI Performing Arts Ltd., dedicated to bridging practice and research in actor training.
As a practice-based researcher, my work explores:
Intercultural Actor Training – Investigating how Eastern physical training can be integrated with Western acting methodologies.
Visual Methodologies in Actor Training – Utilizing Rich-Picture methodology to deepen embodied cognition.
The Cross-Cultural Application of Actioning – Expanding and adapting Actioning beyond its traditional regional frameworks.
Currently, I am a Visiting Research Associate Professor at the Central Academy of Drama, where I lead intercultural actor training projects through workshops, masterclasses, and practice-as-research initiatives. Alongside my academic role, I am the Founder & Artistic Director of QI Performing Arts Ltd., dedicated to bridging practice and research in actor training.
What's next?
What's next?
What's next?
Theatre is ever-evolving, and so is actor training.
As I continue to push the boundaries of intercultural performance methodologies, I welcome collaborations, dialogues, and new challenges.
Theatre is ever-evolving, and so is actor training. As I continue to push the boundaries of intercultural performance methodologies, I welcome collaborations, dialogues, and new challenges.
Theatre is ever-evolving, and so is actor training.
As I continue to push the boundaries of intercultural performance methodologies, I welcome collaborations, dialogues, and new challenges.
Acting Coach · Researcher
Visiting Research Associate Professor,
The Central Academy of Drama, China
Shaoyuan Qi
Recognitions & Rewards
Second Prize, International Theatre Academy Awards (2022)
‘A Radical Rethink of Stanislavski’s Communication,’ TDPT (2024)
Endorsed by British Academy under the UK Global Talent Scheme (2023)
Copyright © 2025 Shaoyuan Qi
Acting Coach · Researcher
Visiting Research Associate Professor,
The Central Academy of Drama, China
Shaoyuan Qi
Recognitions & Rewards
Second Prize, International Theatre Academy Awards (2022)
‘A Radical Rethink of Stanislavski’s Communication,’ TDPT (2024)
Endorsed by British Academy under the UK Global Talent Scheme (2023)
Copyright © 2025 Shaoyuan Qi
Acting Coach · Researcher
Visiting Research Associate Professor,
The Central Academy of Drama, China
Shaoyuan Qi
Recognitions & Rewards
Second Prize, International Theatre Academy Awards (2022)
‘A Radical Rethink of Stanislavski’s Communication,’ TDPT (2024)
Endorsed by British Academy under the UK Global Talent Scheme (2023)
Copyright © 2025 Shaoyuan Qi
Acting Coach · Researcher
Visiting Research Associate Professor,
The Central Academy of Drama, China
Shaoyuan Qi
Recognitions & Rewards
Second Prize, International Theatre Academy Awards (2022)
‘A Radical Rethink of Stanislavski’s Communication,’ TDPT (2024)
Endorsed by British Academy under the UK Global Talent Scheme (2023)
Copyright © 2025 Shaoyuan Qi