Studied Literature in Zürich and Acting in London. In her coaching work she combines her experience in script analysis with the methodological approach to acting theand groundbreaking technique of movement psychology.

As a teacher and coach she is based in Zürich, Switzerland, and works all over Europe. In weekly classes and workshops she has taught a great number of actors and introduced directors to the challenges of acting. Barbara owes her craft to the master teachers of Drama Centre London: Christopher Fettes and Reuven Adiv; the second generation including Giles Foreman, with whom she has been teaching for many years. Barbara co-founded the “Caravanserei” Productions & Acting Studio in London in 2005. Since 2012 the studio has been based in Soho as „Giles Foreman Centre For Acting“ and established itself as an internationally leading place for teaching method acting. In 2015 the „Giles Foreman Centre for Acting Paris“ has opened its doors „New York GFCA“ followed one year later.

In recent years Barbara has been teaching in Paris, London, Berlin, Munich and Madrid as well as all over Switzerland. She also supports actors individually in their preparation of castings and roles: among others Carla Juri, Sara Spale, Matthias Hungerbühler, Delia Mayer, Oriana Schrage, Michael Neuenschwander for „Dällebach Kari“ (Xavier Koller), “Fossil” (Alex Walker), „Dead Fucking Last“ (Walter Feistle), „Das Missen Massaker” (Michael Steiner), Tatort, “Vaterjagd” (Rahel Grunder), “Der Bestatter”, “Der Frosch” (Jann Preuss), “Finsteres Glück” (Stefan Haupt), “Lina”(Mike Schaerer), „Im Nirgendwo“ (Katalin Gödrös), „Die letzte Pointe“(Rolf Lyssy) „The Rock and the Waves“ (Petra Gstrein), “Zwiespalt“ (Barbara Kulcsar), "Private Banking" (Bettina Oberli), "Die Einzigen" (Maria Sigrist), „Porc s-Epics (Francesca Scalisi), „Zwingli“ (Stefan Haupt), „Killed in Action“ (Klaus Knosel), „Al-Shafaq, Wenn der Himmel sich spaltet“ (Esen Isik), „Platzspitz Baby“ (Pierre Monnard), „Im Dunkeln“ (Marcel Gisler), „Von Fischen und Menschen“ (Stefanie Klemm), „Unorthodox“ (Maria Schrader).

Increasingly, she also works with directors individually, supporting them in their analysis or development of scripts. Barbara regularly works as a voiceover artist and reads on stage. In the last few years together with Nobel-Prize-winner Shirin Ebadi, Dame Ruth Rendell, Siri Hustvedt, Donna Leon, Alice Schwarzer, Andrea Levy, Mirjam Pressler and Lizzie Doron.

The weekly training class is at the core of any acting studio as is traditional in the English speaking world. It offers actors the possibility to continue training throughout their career.

Expansion of creative wingspan

A regular class offers the opportunity of delving deeper into one’s technique and to work on roles one would not necessarily be cast for in a commercial setting. If we can access the untypical or the hidden aspects inside us fresh energies will be released. The possibility to express oneself increase, the whole instrument grows leaner and the repertoire wider and more complex.

Security in one's craft

A regular class offers actors who will often work irregularly and frequently under so much time pressure that little of no room is left for the actual creative process of rehearsing and exploring. Weekly training affords actors the opportunity to refine their technique without pressure and to explore new things.

Preparation of castings and roles

Two pages of text and no explanations – that is usually what one gets when asked to join a casting. And once the job is secured support will remain similarly scarce. A class allows for rehearsal freed from pressure and there is time and space to explore unburdened by the constraints of a rehearsal plan. Beyond training, a class also offers a network and serves as port of call for directors, authors and castors.

BF

I studied in a studio. Next to learning and constantly expanding my craft, this has always been a space of family and home for me. That has both shaped and supported me to this day.