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About

Leo Kees is an interdisciplinary artist working across performance, visual arts, and digital media. Born and raised in Patagonia, he began with film and theatre studies in Argentina before moving to Germany to study at the Folkwang Universität der Künste. After graduation, he worked as a performer and choreographer at the Folkwang Tanzstudio under the artistic direction of Rodolpho Leoni and Pina Bausch.

Over the last fifteen years, he has developed performances that translate philosophical, political, and biographical questions into performative formats for diverse audiences across ages, languages, and cultural contexts. The works he directed and co-directed toured in more than twenty countries and were presented at the Sydney Opera House (AU), Sadler’s Wells (UK), Festival Politik im Freien Theater at Schauspiel Frankfurt (DE), José Limón Festival (MX), PACT Zollverein (DE), Ranga Shankara, Bengaluru (IN), Suzanne Roberts Theatre (US), Tanzhaus NRW (DE), Tanzhaus Zürich (CH), Theatertreffen NRW (DE), Edinburgh Festival Fringe (UK), New Zealand International Arts Festival (NZ), Reykjavík Arts Festival (IS), British Dance Edition (UK), DPAC Kuala Lumpur (MY), ASSITEJ Korea International Summer Festival (KR), Dublin Theatre Festival (IE), and AUGENBLICK MAL! Festival, Berlin (DE), alongside collaborations with Goethe-Institut partners and networks in China, India, Japan, the Philippines, South Korea, Malaysia, Myanmar, and others.

As a guest director and choreographer, he worked at Staatstheater Kassel, Theater Oberhausen, Theater Münster, Düsseldorfer Schauspielhaus, Theater Paderborn, and Theater Regensburg. Alongside commissioned productions for municipal and state theatres, he worked for over ten years as a guest lecturer in the Department of Physical Theatre at the Folkwang Universität der Künste.

His practice moves between artistic production, pedagogy, research, and public engagement. In recent years, his focus has increasingly shifted toward participatory formats that approach learning not as the transmission of information, but as a collective aesthetic, emotional, and social process.

His current work includes physical lecture performances (the IMAGINE: series), participatory durational formats of embodied learning (LeAP / Learning as Performance), and open artistic labs for professionals and broader audiences (Serotonin Lab and Creative Process Lab).

Across these different settings, he develops performative environments in which attention, uncertainty, interpretation, and re-orientation become shared and negotiable experiences. He is particularly interested in how the fear of appearing uninformed, irrational, or ridiculous can be transformed from a social limitation into an intrinsic component of learning processes.

Many of his works examine how humour, group dynamics, physical presence, and collective attention influence the ways people position themselves in relation to knowledge, authority, vulnerability, privilege, and one another. Rather than approaching learning as a purely intellectual activity, he treats it as a process shaped by emotional states, social behaviour, bodily perception, and cultural context.

A migrant perspective runs throughout his practice—not as a fixed thematic framework, but as an ongoing experience of navigating between multiple languages, systems of knowledge, cultural codes, and forms of social belonging.

This perspective informs his interest in how assumptions, behaviours, normative structures, and ideas of legitimacy are learned, embodied, reproduced, and, under certain conditions, reorganised.

At the centre of his work lies the idea of permanent learning as a necessary civic and personal practice that extends beyond institutional education or professional expertise. Through participatory and performative formats, he investigates what enables individuals and groups to step outside habitual patterns of perception and behaviour, and how temporary shared experiences can generate new forms of awareness, imagination, and social connection.

Current Research & Production Focus

Thematic: Framing individual and collective learning as a performative practice; exploring the relationships between information, interpretation, and imagination; examining the tension between data production and the perception of reality; questioning established knowledge canons; and investigating the interplay between cognitive, somatic, and emotional dimensions of learning.

Formal: ANALOGUE: Performances for museums, theatres, conference settings, and unconventional spaces; intergenerational and durational works with fluid boundaries between observers and performers. DIGITAL: Interviews and audio recordings as tools for reflection and documentation; performances for digital spaces; use of AI for creative processes and artistic reflection.

Methodological: Using non-fiction books and essays as starting points for artistic processes; collaborating with scientists and researchers; fostering open and collective creation; facilitating experimental exchanges between professionals and amateurs; exploring the interaction between cognitive, somatic, and emotional learning.

Press Statements

"Some of the most brilliantly imaginative, humorous, touching theatre I have seen this year. Through a combination of dance, conversation and drawings, they tell their stories. [...] they touch, glancingly, on subjects such as sexuality, nationalism, sex, feminism, loneliness and grief. [...] it is a modernist novel, in dance. But it's infinitely more interesting than either genre (or that description) would lead you to believe."

★★★★★ THE TIMES about ‘Chalk About' prod. by Curios Seed (Edinburgh / UK).

"A genuinely exhilarating production [...] Seldom does theatre tackle the idea of life’s great show so casually, so lightly, and yet so entertainingly."

FRANKFURTER ALLEGEMEINE ZEITUNG about 'Slow Motion - Roller Coaster'

"In just 50 minutes, it leads its audience deep into the stuff of human identity, using movement and dialogue to discuss family and origins, nationality and gender, happiness, sadness and the way we express ourselves."

★★★★ THE SCOTSMAN about 'Chalk About'

"As with all successful shows created for young audiences, there is enough nuance in the work that there is something thought-provoking for an eight year old, as well as for those many decades older."

★★★★ SYDNEY MORNING HERALD about 'Chalk About'

"Both performers chat to us about themselves, their personal history, their likes and dislikes, with an affable honesty that is utterly engaging – but the real charm of their disclosures is where it takes young audiences in terms of thinking about how we all define ourselves, and how we make judgements about others based on appearances. There is a sophisticated, caringly-detailed process underpinning this generous-hearted show."

★★★★ THE HERALD about 'Chalk About'

“A wonderful, radical confusion without safety net, which despite its reduced

surface comes out as a wild piece of Performance-Theater.”

WESTWIND FESTIVAL about 'THE ARTE PIECE'

"The diversity of resources is highly impressive: dance, animated drawings, audio recordings, lighting, interaction with the audience. It's a firework of all the possibilities theatre has to offer."

Augenblickmal! Festival Berlin about 'TRASHedy'

"A fast-as-lightning change of performative attitudes is a trademark of this show, from rage attacks to emphatic demonstration of facts or teenage-like exuberance. Grüne Soße and performance artist Leo Kees got together to stage a production that delivers unusual physicality, spontaneity and an appetite for the undefinable."

FAZ (FRANKFURTER ALLGEMEINE ZEITUNG) about 'Sex, Drugs, Ethics, History and Rock&Roll'

Awards, Grants and Nominations

2025, Frankfurt (DE)
Karfunkel Prize for ‘High’ (Regie Leo Kees / Rob Vriens) – performed by Theaterhaus Ensemble

2022, Bochum (DE)
Main Jury Prize at WESTWIND Festival for ‘Spectacular Failures’ – performed by performing group

2021, Köln (DE)
Audience Prize at WESTWIND Festival for ‘THE BIG PICTURE’ – performed by Fetter Fisch

2021, Köln (DE)
Nominated for the Kölner Tanz- und Theaterpreis / KJT for ‘Spectacular Failures’ – performed by performing group

2016, Gelsenkirchen (DE)
Main Jury Prize at WESTWIND Festival for ‘Das Unsichtbare Haus’ – Theater Münster

2016, Düsseldorf (DE)
Nominated for the prize ‘Förderpreis NRW’

2014, Marseille (FR)
Recipient of the production grant ‘Tryangle’ for the show ‘For Pleasure’ – tanzhaus nrw – performed by performing group

2013, Bonn (DE)
Main Jury Prize at WESTWIND Festival for ‘TRASHedy’ / tanzhaus nrw – performed by performing group

2013, Bonn (DE)
Audience Prize at WESTWIND Festival for ‘TRASHedy’ / tanzhaus nrw – performed by performing group

2012, Düsseldorf (DE)
Nominated for the prize ‘Förderpreis für Darstellende Künste der Landeshauptstadt Düsseldorf’

2012, Neuquén (AR)
Main Jury Prize at Festival ‘Selectivo Provincial de Teatro’ for ‘Antropomorfia’

2010, Dresden (DE)
Recipient of the production grant ‘Tanzplan Deutschland’ for ‘Antropomorfia’ (Hellerau, Semperoper, Palucca Hochschule)

2009, Essen (DE)
Folkwang Prize to Ximena Ameri for the piece ‘Eine Odyssee’ – directed by Leo Kees

2006, Ludwigshafen (DE)
Finalist at the ‘No Ballet’ Festival and Dance Competition with ‘Protecciones’

2006, Salt Lake City (US)
Winner of the International Dance for Camera Festival with ‘SFGHSF’

Collaborations with Museums

Museums that have hosted and/or commissioned installations or interventions directed by Leo Kees

2006 — Museo Nacional de Bellas Artes, Neuquén (AR)
Dance intervention exploring how the body relates to works of art in a museum. Developed in collaboration with photographer Roberto Hernández Queijo and students of the Escuela Experimental de Danza Contemporánea.

2010 — Albertinum, Staatliche Kunstsammlungen Dresden (DE). Durational performances for the museum’s inauguration and reopening, organised by Tanzplan Dresden. Work: Adaptation — inspired by Charles Darwin’s The Expression of the Emotions in Man and Animals.

2014 — LWL Museum für Kunst und Kultur, Münster (DE)
Direction of the opening performance for the new main building, commissioned by the museum for this occasion. Project developed in cooperation with Fetter Fisch Performance Theater.

2027–2029 — The IMAGINE: Trilogy. A physical lecture-performance developed in collaboration with various museums and theatres. Currently in the planning phase.

Theatre Venues & Festivals

(Narrow selection of venues that have presented and/or co-produced works directed or co-directed by Leo Kees)

2009 – Writing on Water – PACT Zollverein (DE)

2010 – Antropomorfia – Semperoper Dresden (DE)

2014 – Chalk About – Sadler’s Wells, London (UK)

2014 – Chalk About – Edinburgh Festival Fringe (UK)

2014 – Chalk About – British Dance Edition (UK)

2015 – TRASHedy – AUGENBLICK MAL! Festival (DE)

2015 – Chalk About – Sydney Opera House (AU)

2015 – TRASHedy – NCPA Mumbai (IN)

2015 – Chalk About – Showbox Festival Oslo (NO)

2015 – Chalk About – Arts Centre Melbourne (AU)

2016 – TRASHedy – Reykjavík Arts Festival (IS)

2016 – Das Unsichtbare Haus – Theater Münster (DE)

2016 – Chalk About – New Zealand Festival (NZ)

2016 – TRASHedy – Rotondes Luxembourg (LU)

2016 – TRASHedy – Tweetakt Festival Utrecht (NL)

2016 – Chalk About – Tanzhaus Zürich (CH)

2018 – The Strangers – International Festival Seoul (KR)

2018 – The Strangers – ricca ricca*festa, Japan (JP)

2019 – The Strangers – Bangkok Art & Culture Centre (TH)

2019 – The Strangers – DPAC Kuala Lumpur (MY)

2019 – Oh Yeah Baby! – Theater Oberhausen (DE)

2020 – Chalk About – Suzanne Roberts Theatre, Philadelphia (US)

2021 – Spectacular Failures – tanzhaus nrw (DE)

2021 – Oh Yeah Baby – Staatstheater Kassel (DE)

2021 – Wir Sind Die – Goethe-Institut Kolkata (IN)

2022 – Apokalypse – Festival Politik im Freien Theater (DE)

2022 – Alice – FFT Forum Freies Theater (DE)

2023 – The Big Picture – Dschungel Wien (AT)

2023 – Echt jetzt?! – Theater Regensburg (DE)

2024 – FOOD SHOW – COMEDIA Theater, Köln (DE)

2025 – 1984: reimagined – Theater Paderborn (DE)

Stage Texts

2010 — Antropomorfia
Text and movement score aiming to translate Darwin’s The Expression of the Emotions in Man and Animals into a physical theatre piece shaped by the experience of losing language through migration. Created with the Tanzplan Dresden grant.

2011 — TRASHedy
Text and movement score inspired by Daniel Goleman’s Ecological Intelligence, addressing CO2 footprints and environmental restrictions. Developed with performing group. Winner of the WESTWIND Prize (Best Production of the Year); over 300 performances worldwide.

2013 — Chalk About
Biographical exploration creating a multilayered, multilingual text working with words, symbols, drawings, and objects to invite interpretation across generations. Created with Christine Devaney. Five-star review in The Times (UK).

2016 — Das Unsichtbare Haus
Commissioned by Theater Münster, this multimedia production uses Bill Bryson’s Home to explore ideas of belonging through migration histories and biographical perspectives. Dramaturgy: Julia Hesse. Winner of the WESTWIND Prize (Best Production of the Year).

2017 — The Art Piece
Absurd and disruptive text and movement score that “explains” art through a satirical interview setting, including a colonial critique and a Regina Galindo–like figure. Performed, among others, at Starke Stücke Festival and WESTWIND Festival.

2018 — Sex, Drugs, Ethics, History and Rock&Roll
Theatre play for mixed audiences addressing blind spots within the education system through the themes referenced in the title, drawing on examples from school curricula in Hessen. Final edit with Kathrin Marder, Friederike Schreiber, and Ossian Hain. Performed regularly since 2018.

2019 — The Big Picture
Lecture-performance for two women examining activism, protest, art, and image production as forms of political creativity. Co-written with Cornelia Kupferschmied and Silvia Andringa. Winner of the WESTWIND Publikumspreis.

2020 — Apocalypse Resistance Training
Biographical theatre work based on interviews with three performers (45–70) about public protest across decades in Frankfurt, Berlin, and the former DDR. Developed with Willy Combecher, Detlef Köhler, and Verena Specht-Ronique. Performed, among others, at Festival Politik im Freien Theater.

2023 — Echt jetzt?!
Commissioned by Theater Regensburg: a two-performer play about a show going wrong, audience expectations, and continuing when plans collapse. Premiered at Theater Regensburg.

2024 — The Food Show!
Text for a documentary performance structured as a live podcast, with two figures tracing personal experiences of trying to quit sugar and the ongoing struggle of staying away from it.

Text Adaptations for Stage

2010 — The Metamorphosis
Free physical-theatre adaptation of Kafka, developed from a non-victim perspective, with an altered ending in which Gregor confronts the father figure. Informed by a queer-biographical approach. Commissioned by the Folkwang Universität der Künste.

2023 — Die Entdeckung der Langsamkeit
Stage adaptation of Sten Nadolny, developed from an ADHD- and gender-egalitarian perspective, foregrounding neurodiversity while avoiding an imperial-hero narrative. Written with Friederike Schreiber and Günter Henne. Premiered at Theaterhaus Frankfurt.

2024 — Where Is Banksy?
Duo performance adapted from Banksy interviews, questioning the myth of the male rebel figure and proposing Banksy could just as well be a woman. Final edit with Cornelia Kupferschmied. Premiered at Theater an der Meerwiese, Münster.

2025 — 1984: reimagined
Commissioned work. Contemporary stage adaptation of Orwell’s 1984, developed from a gender-egalitarian perspective, with impulses from Sandra Newman’s Julia and texts by Brazilian judge Andrea Pachá. Final edit with Heike Seidler. Premiere at Theater Paderborn.

Publications

2020 — IXYPSILONZETT 1/2020
“An Act of Translation” — discussion about risk, patience, and globalisation with directors Leo Kees, Verena Regensburger, and Mina Salehpour, moderated by Gerd Taube.
ISSN 0040-5418.

Portrait:

Studies

2016–2017 — Postgraduate Studies in Cultural Management Universidad Nacional de Córdoba, Faculty of Economics (AR). Focus: management of cultural institutions, labour markets in the arts sector, big data and social sciences, quantitative methods in cultural analysis, and the organisation and production of artistic, cultural, and social projects in public and unconventional spaces.

2008–2009 — Folkwang Tanzstudio / FUdK Essen (DE) Performer and choreographer at the Folkwang Tanzstudio under the artistic direction of Pina Bausch and Rodolpho Leoni. Applied research in multimedia and videoscenography.

2007–2008 — Institut für Computermusik und Elektronische Medien (ICEM), Folkwang Universität der Künste (DE). Guest student for two semesters at the Institute for Computer Music and Electronic Media. Subjects: composition and new media, visualisation, interplay of music, video and space, film analysis. Professor: Dietrich Hahne.

2001–2006 — Folkwang Universität der Künste, Degree in Contemporary Dance, Essen (DE) . Professors: Malou Airaudo, Libby Nye, Dominique Mercy, Juan Kruz Díaz de Garaio Esnaola, Lutz Förster. Additional subjects: improvisation, composition, partnering, music, Alexander Technique, repertory of Pina Bausch, Susanne Linke, and the Limón Dance Company.

1999 — National School of Drama (now Universidad Nacional de las Artes) (AR) First year of Theatre Studies. Subjects: acting (Stanislavski method and emotional memory), Dalcroze Eurhythmics, movement training, art history, theatre history.

1998 — Instituto Universitario Patagónico de Arte (IUPA) (AR) First year of Film Studies. Subjects: film history, film analysis, editing, camera work, psychology, scriptwriting, and new digital media.

Training Programs & Certifications

2025–2028 — Feldenkrais Teacher Training. Organised by the Feldenkrais Ausbildungsinstitut, directed by Patrick Gruner. First cycle focused on teaching group ATM lessons; second cycle focused on Functional Integration. Certified by the Feldenkrais Verband Deutschland. (currently studying)

2026 — Systemic Coach Program. InKonstellation GmbH (DE) Focus: communication coaching, career coaching, Nonviolent Communication, conflict management, and mediation (Harvard Business Model). Certified by the International Coaching Federation and Industrie- und Handelskammer (IHK). Endorsed by the Bundesministerium für Bildung und Forschung. (currently studying)

2026 — AI Certifications
Since 2026, ongoing independent study of artificial intelligence in relation to creative processes and the self-management of independent artistic practices. Current certifications include:

– IBM: Artificial Intelligence Fundamentals Certificate (studying)
– University of Helsinki: Elements of AI (studying)
– n8n: Agent Building and Automation (finished)

Teaching Experience

2010–2023 — Guest Lecturer in Physical Theatre
Folkwang Universität der Künste, Essen (DE)

2026 — Interdisciplinary Workshop: Serotonin Lab
tanzhaus nrw, Düsseldorf (DE)

2025 — Training Workshop for Professional Dancers
Künstler*innenhaus Mousonturm, Frankfurt am Main (DE)

2023 — Improvisation and Choreography, Guest Lecturer
Universidad Autónoma de Yucatán (MX)

2023 — Improvisation Workshop
Camp-In Festival, Yucatán (MX)

2019 — Improvisation Workshop at the Goethe-Institut Malaysia
DPAC Performing Arts Centre Kuala Lumpur, (MY)

2019 — Composition and Improvisation Workshop
School of Fine Arts, Dance Department, University of Manila (PH)

2018 — Improvisation Workshop as part of The Strangers
Goethe-Institut Seoul (KR)

2017 — Composition and Improvisation, Guest Lecturer
Instituto Universitario Patagónico de Arte (AR)

2016 — Tanztheaterprojekt
Folkwang Universität der Künste, Essen / Bochum (DE)

2016 — Guest Lecturer in Contemporary Dance
Escuela Experimental de Danza Contemporánea, Neuquén (AR)

2016 — Professional Training in Contemporary Dance
Stadttheater Bielefeld (DE)

2015 — Direction of the physical theatre project Darwin
Folkwang Universität der Künste, Essen (DE)

2013 — Professional Training for the Dance Company
Stadttheater Bremen (DE)

2012 — Student Project, Graduation Class
Escuela Profesional de Danza Contemporánea (MX)

2011 — Guest Lecturer for a Project with Graduates of the Escuela Experimental de Danza Contemporánea (AR)

2011 — Improvisation Workshop
Stadttheater St. Gallen (CH)

2010 — Direction of the physical theatre project Die Verwandlung
Folkwang Universität der Künste, Essen (DE)

2009 — Improvisation, Guest Lecturer
Instituto Universitario Patagónico de Arte (AR)

2008 — Contemporary Dance Technique and Professional Training
tanzhaus nrw, Düsseldorf (DE)

2008 — Release Technique, Guest Teacher
Company Neuer Tanz, Düsseldorf (DE)

2007 — ContemporaryDance Training, Guest Teacher
Folkwang Tanzstudio, Essen (DE)

2007 — Release Technique and Improvisation
Companhia Lia Rodrigues, Rio de Janeiro (BR)

2007 — Improvisation Professional Training
tanzhaus nrw, Düsseldorf (DE)

2006 — Contemporary Dance Training, Guest Teacher
Folkwang Tanzstudio, Essen (DE)

Literature

Julia Dina Hesse — PhD Dissertation
In-depth analysis of the content, form, and creative process of TRASHedy (concept and direction: Leo Kees): Die Narrative des Anthropozäns in den Darstellenden Künsten für junges Publikum. Theatrale Erprobungen von Handlungsmacht und Repräsentation aus post-anthropozentrischer Perspektive.

ISBN: available 2027.

Gabi von den Droste / Schibri Verlag
Hans-Wolfgang Nickel (Hg.): Spiel – Theater – Medien.
“Über die Kunst, Unerwartetes einzuladen.” Analysis and contextualisation of the performance Chalk About (chapter: Tanz).
ISBN 978-3-86863-167-8.

Martina Kessel / Theater der Zeit
Das tanzhaus nrw: Von der Utopie zum Zukunftsmodell. Johannes Odenthal (Hg.). Works by Leo Kees discussed in the chapter “Junges Tanzhaus”.
ISBN 978-3-943881-54-7.

Melanie Suchy / Theater der Zeit
TANZLAND NRW. Positionen zum zeitgenössischen Tanz in Nordrhein-Westfalen. Works by Leo Kees discussed in the chapter “Stadt-Land-Tanz”.
ISBN 978-3-95749-008-7.

Tanz – Zeitschrift für Ballett, Tanz und Performance. January 2023. article “Social Media / Mehr Publikum” on the video-portrait series created for social media.
ISSN 1869-7720 / ISSN 2942-481X.

Tanz-Journal 09/2 (April 2009)
Magazine cover and article on the production Writing on Water for the Folkwang Tanzstudio.
ISSN 1611-0803.

Works as Performer

2000 — Brenda Angiel / Otras Partes
Aerial dance piece developed for the Festival de Danza Teatro de Buenos Aires. Performed at Teatro Margarita Xirgu, Teatro Jorge Eliécer Gaitán Bogotá, and Festival Internacional de Medellín.

2002 — Samir Akika / Sharks
Dance-theatre production directed by French-Algerian choreographer Samir Akika. Premiered at tanzhaus nrw, Düsseldorf.

2002 — Schorsch Kamerun / Hollywood Elegien
Absurd musical in which punk aesthetics collide with references to Hanns Eisler and Bertolt Brecht. Premiered at Ruhrtriennale.

2003 — Samir Akika / Boulevard Lafayette
Recast as performer for a repertory work by Samir Akika. Performed, among others, at Kunstencentrum VIERNULVIER / Vooruit, Ghent (BE).

2004 — Mark Sieczkarek / Spartacus III
Dance-theatre piece exploring archetypal figures, clichés, and constructions of male iconography, created by Pina Bausch dancer and choreographer Mark Sieczkarek. Performed at venues across the Ruhr region.

2005 — Limón Dance Company / Psalm
Restaging of an iconic Limón repertory work with original company members including Roxane D’Orléans Juste and Carla Maxwell. Performed at the Neue Aula, Folkwang Hochschule.

2006 — Susanne Linke / Fragmente – Skizzen
Creative process with Susanne Linke, re-exploring her repertory through improvisation and re-composition. Performed, among others, at the Aalto-Theater Essen.

2007 — Arthur Kuggeleyn / After Effects
Research-based creation process exploring minimalistic and repetitive structures. Premiered at L’Octogone, Théâtre de Pully (CH).

2009 — Ben J. Riepe / shy wild
Improvisation-based dance piece created within the Folkwang Tanzstudio context, where Leo Kees worked as performer and choreographer.

Influences

Selection of workshops and classes that left a lasting impression on the body and contributed to the understanding of movement and performance.

2010 — Renate Graziadei / LaborGras, Berlin (DE)
2009 — David Hernandez / P.A.R.T.S. Summer Residencies (BE)
2007 — Jeremy Nelson / LaborGras, Berlin (DE)
2007 — David Hernandez / P.A.R.T.S. Summer Residencies (BE)
2007 — Renate Graziadei / LaborGras, Berlin (DE)
2007 — Daniel Lepkoff / Moving Arts (DE)
2006 — Arco Renz / P.A.R.T.S. Summer Residencies, Brussels (BE)
2006 — Barbara Kaufmann / Pina Bausch Repertory (DE)
2005 — David Zambrano / P.A.R.T.S. Summer Residencies (BE)
2005 — Dominique Duszynski / PACT Zollverein, Essen (DE)
2005 — Chrysa Parkinson / P.A.R.T.S. Summer Residencies (BE)
2005 — Janet Panetta / PACT Zollverein, Essen (DE)
2004 — Wim Vandekeybus / Ultima Vez / PACT Zollverein, Essen (DE)
2004 — Nigel Charnock / PACT Zollverein, Essen (DE)
2003–2007 — Juan Kruz Díaz de Garaio Esnaola / FuDK Essen (DE)
2003 — Iñaki Azpillaga / PACT Zollverein, Essen (DE)
2002–2003 — Frey Faust / tanzhaus nrw, Düsseldorf (DE)
2000 — Russell Maliphant / Festival Internacional de Medellín (CO)
2000 — Jordi Cortés Molina / Festival Internacional de Medellín (CO)
1999 — Martin Keogh / Buenos Aires (AR)
1999–2000 — Cristina Turdo / Buenos Aires (AR)
1999–2000 — Silvana Cardell / Buenos Aires (AR)

Masterclasses

2000 — Eugenio Barba / Odin Teatret
“Theatre and Society” — National School of Drama, Buenos Aires (AR)

2002 — Grotowski Centre / Song of the Goat. Research on training methods in relation to Grotowski’s work — Wrocław (PL)

2005 — Robert Wilson. On his directing methods — Folkwang Universität der Künste, Essen (DE)

2005 — Pina Bausch. Repertory of The Rite of Spring, in collaboration with performers from Tanztheater Wuppertal — FuDK, Essen (DE)

2008 — Forced Entertainment / Tim Etchells. Working methods of Forced Entertainment — intensive workshop at PACT Zollverein,(DE)

2009 — Romeo Castellucci. Development of visual stage concepts and approach to creative process — PACT Zollverein, Essen (DE)

Leo Kees