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.

Individual support going beyond what can be offered in the context of a class.

Preparation for castings

In a casting actors are under pressure. All the more as – even at international castings – there will be scant help offered. Two pages of text and ten lines of character description will frequently be all an actor has to hold onto when being invited.
Often it is easier to find and follow a lead when working in pairs.

Preparation of roles and days of shooting

every role has its very own requirements an actor needs to identify and meet. A coach can help for example in: Screening a script - Exploring the inner world of a character - Rehearse triggers for specific moments in a film or a play - Find and explore another body and ist movements.

BF

When a casting nears, or the shooting is imminent, all antennas are extended and motivation does extra shifts. That is exciting for me too. In particular when it’s a great script.

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Barbara Fischer
www.barbara-fischer.ch

Charlotte Pistor
www.karlotta.org