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Full Description Research Programme



Mime Archieven

Embodied Knowledge in Theatre and Dance

The research group Embodied Knowledge in Theatre and Dance offers teachers and students a space for encounter and research on this area of interest. 

By prioritising the bodily, practice-based knowledge that characterises the transitory arts of theatre and dance, this research group strives to contribute to the renewal, diversification and enrichment of existing theatre-historical and dance-historical narratives.


Academy for Theatre and Dance teachers and students are invited to contribute to the research of Embodied Knowledge in Theatre and Dance. Teachers are invited to contribute by joining the inaugural session of the Academy for Theatre and Dance’s Embodied Knowledge in Theatre and Dance working group. Students through the research seminar What a Body Can Do.

Postdoc Research

As of 1 september 2019, Marijn de Langen will perform a two year postdoc research at DAS Research. De Langen's research proposal "The Past Bubbles around Us: Mime Archives in the Public Domain" was approved in January 2019 by SIA, the Taskforce for Applied Research.

In her research, De Langen brings together theatre heritage and embodied knowledge by posing the question of how it might be possible to open up the Dutch mime archives, prioritising a focus on the embodied knowledge they hold.

Dr. Marijn de Langen

Marijn de Langen, PhD, is the coordinator of the research group Embodied Knowledge in Theatre and Dance. 

As of 2002, De Langen is a researcher and theory teacher at the Academy for Theatre and Dance’s Mime Bachelor’s degree programme.

In 2017, De Langen successfully defended her doctoral thesis at Utrecht University, which was titled 'Mime denken: Nederlandse mime als manier van denken in en door de theaterpraktijk' (EN: 'Dutch Mime: a distinct mode of thought in theatre practice').

From September 2019 to August 2021, Marijn is working on her postdoc research at the Academy of Theatre and Dance.


Carly Everaert has been a costume-designer since 1986. She learned the trade through practice. Since then she designed costumes for huge opera’s to solo’s and everything in between. Her work is all about layering and how mixing every day life materials in designs can create a whole new illusion.

In 2003 and 2015 she was invited to represent Holland for the Dutch Pavilion at the PQ, the world exhibition on theatre design. She received the Plombina for her oeuvre in 2001 at the start of the women’s theatre network. In 2011 she received – together with the entire artistic team – de Wijnberg Scenografieprijs for The Tempest in direction of Liesbeth Coltof. In 2012 she received a “zilveren krekel” for her designs for “Mehmet de Veroveraar” and “Pinokkio”. She designed the salons for Atelier D. 

Together with Sjoerd Wagenaar she started and lead the master scenography of the Frank Mohr Instituut in Groningen. She teaches costume design at the theatre school Amsterdam (AHK) and design workshops at Theatre Day Production in Gaza. She is an active member of the open Platform Scenography.

Research Description

Carly is interested in researching body, costume and movement in the Netherlands, a topic which has not been researched a lot.

Esther Snelder (Drempt, 1971) graduated in 1997 in the direction Mime at the Faculty of Theatre of the Amsterdam School of the Arts and in 1998 as teacher in Mime. Since then she has worked as a performer with many dance and theatre makers, such as Kassys, Nicole Beutler, Jerome Bel, Sanne van Rijn, Magne van den Berg, De Gemeenschap and Jetse Batelaan. Esther works as a teacher and adviser at the Amsterdam Mime School, teaches performance and Alexander Technique at the ArtEZ School of the Arts in Arnhem and is acting coach for the musicians of company Oorkaan. Esther followed the three-year teachers training in the Alexander Technique and gives private lessons in this technique since 2017. 


© Kamerich-Budwilowitz-EYES

Floor van Leeuwen is mimer and co-founder of theatercollective Schwalbe and Leeway for Arts, collaborating with Third Space and Tools for Action.

Within the research group Floor is currently exploring how the embodied knowledge of a mimer manifests in/ weaves with practises outside the artfield through ways of working.

© Bart Grietens Photography

Fleur van den Berg, is a Dutch artist based in Amsterdam and Madrid. She developed her artistic and pedagogical view throughout eight years of study at the Amsterdam University of the Arts (AHK) / Academy of Theatre and Dance (ATD) and in her practice as a freelance artist and teacher in art education.

She was taught both in classical, text based, theatre repertoire, Euripides, W. Shakespeare, A. Tsjechov, B. Brecht, S. Beckett, etc., as well as in physical theatre, movement, dance and martial arts, E. Decroux corporal mime thechnique, Chi-Kung, Meyerhold, Krav Maga. After two more years of intensive knowledge transfer on Decroux’s Corporal Mime, taught by William Dashwood, she became a teacher in the corporal mime technique of Decroux at the Amsterdam University of the Arts (AHK/ATD) and Escuela Internacional de Mimo y Teatro Gestual Nouveau Colombier in Madrid.

She is interested in the relation between body and mind, practice and theory, action and philosophy, movements of thought and movenments of bodies, in other words: what moves us.

Fleur van den Berg

Roos van Berkel (performer, choreographer, researcher) works on the intersection of dance and technology. The core of her work revolves around observing and choreographing the humane and non-humane body. Her work was shown at art & technology festivals such as E-Pulse, STRP and Discovery festival. She also toured across the Gent Light Festival, Museumnacht A’dam and various theatres in Hungary and Romania. Most recently she created the lecture performance ‘Lehmer’s Dance’ in collaboration with NOW and mathematician Tom Verhoeff.   

Roos teaches at the ATD since 2008 (Modern Theatre Dance, Dance in Education and Expanded Contemporary Dance). She also teaches designers at the Eindhoven University of Technology (Industrial Design). As a researcher, Roos has co-authored a few publications on interactive design and led a research on ‘dance and elderly in the urban context’ for ATD’s research group Arts in Education.  

Research Description:
My colleagues in this research group have inspired me to propose an introductory research which revolves around the hand-outs that I developed for my classes. The proposal consists of a concise literature research, interviews with three students and two movement explorations. The goal is to reflect on the collection of hand-outs as an ‘object’ that foregrounds somatic principles and choreographic notions from Laban/Bartenieff Movement Analysis."

© Inge Hoogland

Improvisation, Toward Real Time Composition

The methodology of teaching became more an ongoing artistic practice about how to share my own questions and investigation with my students. In this sense, the use of Improvisation, became a vehicle to explore the natural intelligence of the body. Unfolding this intelligence inherent to the body (in motion) was already a goal by itself. The sessions of my courses are organized around a physical practice that is mostly based in the use of choreographical scores and verbal indications. My fascination is still around the process of unfolding the knowledge that is already in the body in a  real  time process, and how becoming aware of the body’s own logic, and making this more explicit it is still the main subject of my artistic investigation and actual practice.


Maria Inés Villasmil is a Venezuelan born dancer, choreographer, dance educator, writer, cultural manager and academic researcher with an interest in people, society, social development, multidisciplinary and multicultural work. I have been based in the Netherlands for the last 24 years and I am presently a faculty member at the Academy of Theatre and Dance at the Amsterdam University of the Arts (Amsterdam Hoogeschool voor de Kunsten) where I lead courses in Contemporary Dance Technique, Improvisation Techniques, Choreography and also direct workshops that often integrate real time processes. I hold a MA in Choreography and New Media and a MBA in Cultural Management and Creative Industries from the Salamanca University (Spain). Previously I received two undergraduate BA degrees in Sociology in my native country (Venezuela) and in Choreography and New Media at the SNDO (Choreography Department of the Academy of Theatre and Dance). 

More info:


Angela Linssen works with 'embodied visualising' in her contemporary dance lessons. This entails the inner eye implies/initiates and follows the movement and delivers a continuous awareness of where and how the movement moves through the body.

Angela's research entails: The inner eye in relation to the outer eye. 

"I have noticed that some international students from countries  such as Russia, China, Japan, have trouble really seeing and looking at the audience. There is a big cultural difference behind and underneath it. As a result, the presence and performativity remains very restrained despite their strong physicality. What I want to investigate is whether, through the inner visualization of the body, I can allow and increased incorporation of the seeing of the outside world: the audience. How can that inner monologue, physical narrative be expanded further?"


Full Description Research Programme



Mime Archieven