Workshops
Upcoming workshops and sessions
Scheduled workshops and sessions. For availability, intended participants and participation arrangements, contact the organiser or email me.
18 November 2026 · Lugano
Collaborative leadership
Università della Svizzera italiana (USI) · Campus Ovest
Theatre tools for communication and teamwork.
14–15 January 2027 · Rome
Unarmed stage combat for camera
Accademia Cinematografica MAB
A screen combat workshop exploring action and physical interaction in front of the camera.
28–30 January 2027 · Venice
The actor-director
Intensive acting and theatre directing course
Directing tools and creative development: rhythm, an overall view, distance and proxemics.
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Drama schools and actors
Acting coaches · associations
01The actor-directorUnderstanding directing tools, developing creativity
What does directing mean? How do you build a scene that communicates? The workshop begins with these questions and explores the elements that organise stage action: rhythm, an overall view, distance, proxemics, spatial arrangement and relationships between performers. Through practical exercises, observation and composition, these tools become a way to develop creativity, build individual proposals and recognise the effect of your choices.
Who it is forActors, students and theatre schools; adaptable for singers and musical performers.
What we doObserving and composing scenes; exercises using directing tools; self-direction and directing others; collaborative creation.
Working objectives: Develop creativity and stage independence, connecting each choice with the meaning and communication of the scene.
Adaptable as a masterclass for singers and conservatories.
02Techniques of the greatsFrom text to stage action
The starting point is Oscar Wilde’s The Importance of Being Earnest. Text analysis is connected with acting practice, moving between the playfulness of comedy and a more intimate investigation of character.
Who it is forActors and theatre students seeking to deepen their work on text.
What we doText and author analysis; listening and transitive action; character mannerisms and inner structure; structured improvisation.
Working objectives: Bring the text to life while serving its structure, with creative freedom, precision and presence. The tools draw on Samuel’s artistic and training experience.
Adaptable as a masterclass for singers and conservatories.
03Character developmentBody, imagination and intention
Training that connects physical choices with the life of a character. Starting with presence and listening, the exploration gradually incorporates text, music and costume as active tools for performance.
Who it is forActors, students and practitioners of actor direction.
What we doCircle Game and Line Exercise; work on focus, physicality, intention and relationships; exploration of external elements in character creation.
Working objectives: Build a shared working vocabulary and practical resources for creating, sustaining and transforming a character.
Adaptable as a masterclass for singers and conservatories.
04Stage combatAction, reaction and precision
A workshop in unarmed stage combat: conflict is built as a coordinated sequence between performers. The focus is on safe working practices and clear theatrical action.
Who it is forActors and theatre schools.
What we doIntroductory movements; technical vocabulary; linking actions; supervised choreography; the beginning and end of a confrontation; short scene studies.
Working objectives: Coordinate action and reaction, listen to a scene partner and give conflict a readable theatrical form. This is not self-defence training.
Adaptable as a masterclass for singers and conservatories.
05Comedy and comic timingHow laughter is built
This is not simply about “being funny”, but about investigating why and when an action makes people laugh. Comedy is approached as precise work that can be observed, tested and repeated.
Who it is forActors, students and theatre groups.
What we doPractical exercises, improvisation and comic scene creation; exploration of rhythm and shared play.
Working objectives: Develop awareness of timing and build precise, repeatable comic scenes in collaboration with the group.
Adaptable as a masterclass for singers and conservatories.
06Mostri e MeraviglieTransformation and physical imagination
A workshop exploring excess as a conscious expressive resource. Through body and imagination, participants investigate ways of moving beyond familiar gestures and allowing unexpected characters and presences to emerge.
Who it is forActors, artists and theatre training groups.
What we doPhysical work, guided transformations, extreme improvisations, and exploration of archetypes and songs.
Working objectives: Expand gesture and expressive possibilities; recognise habitual choices and explore alternatives through collective work.
Adaptable as a masterclass for singers and conservatories.
07The art of Drag Queen performanceCharacter, transformation and presence
A creative space for discovering and building a drag alter ego. The work connects stage identity, theatrical play and transformation tools without reducing a character to their appearance. The workshop was held at Teatro dell’Acquario in Cosenza and, as a team-building activity, for an English-language institute in Varese.
Who it is forArtists, actors, dancers, performers and anyone curious about drag as a performance language.
What we doCharacter creation; make-up and costume; movement, lip-sync and stage presence; games and improvisation.
Working objectives: Develop an individual character and explore how body, image and performance communicate together.
Adaptable as a masterclass for singers and conservatories.
08Physical theatre workshopThe body, gesture and the unspoken
Workshop proposal
An exploration of the body’s contribution to stage creation. Gestures, movements, distances and physical relationships allow performers to investigate what a character expresses, holds back or reveals without speaking. The work invites participants to observe how physical choices create meaning and become material for composing a scene.
Who it is forPerformers, theatre groups, singers and musical performers.
What we doExploration through gesture, movement, presence, distance and physical relationships; observing what the body communicates beyond words.
Working objectives: Explore the unspoken and transform physical choices into material for stage composition.
Adaptable as a masterclass for singers and conservatories.
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Masterclasses for singers and conservatories
Rigorous musical training can be complemented by theatrical exploration, imagination and stage practice. Samuel’s workshops can become masterclasses tailored to the goals of the conservatory and its performers.
Who it is for: Conservatories, singers and musical performers.
The programme, duration and working materials are agreed with the institution.
Tell me the institution, the number and level of participants, the location, the period and the training objective.
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Companies, universities and organisations
10Elevator Pitch & TheatreIntroducing yourself and opening a conversation
A session for students and early-career professionals who want to explain who they are clearly and build a relationship with the person they are speaking to. The work combines message structure, physical presence and listening.
Who it is forUniversities, students and early-career professionals.
What we doA four-part pitch: hook, identity, curiosity and closing; candidate–recruiter role-play; breathing, eye contact and vocal rhythm; questions and possible objections.
Working objectives: Make a message concise, become aware of body language and move from a prepared introduction into dialogue. The format was used with USI Career Service.
11Persone in azioneTheatre applied to teamwork
An adaptable programme using theatre practices to observe how we communicate, collaborate and take initiative. It starts with the group’s needs: the aim is not to train actors, but to work on shared situations.
Who it is forCompanies, universities, organisations and workplace teams.
What we doImprovisation games and role exchanges; verbal and non-verbal communication; public speaking; creative brainstorming and problem-solving; observation and feedback.
Working objectives: Work on listening, collaboration, initiative and responsibility. The programme brings together communication and collaborative leadership.
Experience and collaborations
Past activities, presented separately from the catalogue proposals.
Teatri Possibili · Milan · March 2025
First L’attore-regista (March 2025), then Le tecniche dei grandi: two programmes exploring stage creation and the performer’s tools.
BottegaVaga · Venice
First Mostri e Meraviglie, then Le tecniche dei grandi. The next workshop is L’attore-regista, on 28–30 January 2027.
Accademia di Recitazione di Napoli · Naples
Stage combat and the comic body: warm-ups, scenes, movement and action–reaction.
TASIS · Lugano · December 2025
Workshops with High School Performing Arts, High School Theater Arts and Middle School Drama: focus, character, physicality, and integration of text, music and costume.
USI Career Service · Lugano · 26 March 2026
Get Ready for the Long Night of Careers: pitch preparation and simulated professional encounters.
Teatro dell’Acquario · Cosenza
Drag workshop: character, transformation and stage presence.
English-language institute · Varese
Drag workshop delivered as a team-building activity.
Explore the programmes
Theatre workshops · brochure in Spanish · PDF ↗Training for companies · brochure in Italian · PDF ↗
The brochures retain their original editions; dates and formats are confirmed directly.
Organise a workshop
Check the available periods on the homepage to find a suitable window for your school or group. Then email me to agree on dates, location and format.
Tell me who it is for, where, when and what you would like to work on. We can then discuss the programme and its format.
The calendar lists scheduled activities; the catalogue also includes programmes available on request. Participation arrangements and conditions are confirmed with the organisers.