Artists on their experiences with P.E.M.

Mutiya Balogun, Actress, London

People have been acting for years and they haven’t managed to come up with another method. We use the same methods we’ve always been taught. What Perdekamp has come up with is quite amazing. P.E.M. is new and refreshing and I think all actors should try it.



Onur Orkut, Acting Tutor at the Liverpool Institute of Performing Arts, Liverpool

P.E.M. is a way I have not done things before. It is much more animalistic and muscular rather than intellectual. I would recommend it to any intellectual and head-bound actor. It might be useful for them.

Marina Waters, Actress, London

With the P.E.M I have learnt how to quickly and easily access an emotion without having to go through a lot of scenario preparation. With the P.E.M., I can go straight to grief or aggression with no problem. This is quite revolutionary for an actor.

Kris Hallett, Artistic Director, London

With the P.E.M. we can find emotions purely through a physical context. We can literally turn off our minds completely. P.E.M. is internal and instinctive.

Katherine Lunney, Actress, London

P.E.M. is focused on creating a natural performance without having to tap into any emotional memory or using the mind at all.

Prof. Victor Miloserdov, Principal Cellist at the Moscow State Symphony Orchestra

During my collaboration with artists who have worked with the P.E.M., I not only noticed their deep comprehension and appreciation of the musical piece, but first and foremost their remarkable flexibility, versatility and an extraordinary instinct to connect and blend music with spoken sounds and other creative forms of expression. The emotional density created on stage not only supported my music and feel of playing, it also helped me to acknowledge my art on a whole new level – make it a more complete and holistic experience. It has always been my dream to be part of such a harmonious merging of language and music. I could allow myself to delve even deeper into my music. The density of emotions and intensity of the music – happening simultaneously but one depending on the other – magically enchanted the audience.

Sven Ruygrok, Actor, Cape Town

P.E.M. is one of the most amazing acting techniques ever! I am truly beginning to understand the psyche of the human mind and body and am completely and utterly compelled by this method. It is new, simplistic and it works with amazing efficiency.

Tafari Lawton, Actor, New York

P.E.M. is going to help me develop as an actor like tenfold !

Randa Hajallie, Actress, London

“P.E.M. is a great way for switching between emotions. This is very hard to do in your mind but here, every emotion is physically and internally connected to your body. It feels very natural. I’ve never come across anything like it before.”

Carlo Duvivié, Guitarist

It was a great, marvellous and wonderfully touching experience to create new boundaries together with the director, the actress and this unique artistic method P.E.M.

Our collaboration shaped an atmosphere which emphasized Manuel de Falla’s musical grandeur, rather than jeopardize or drown his work. We were able to bring his music more deeply and grippingly to the present and allow it to thrive in all its preciousness and distinctiveness, which was utterly enjoyable both for the artists and the audience. Such a degree of vivid performing/performance makes the artistic memories of this moment ever-present.



Colleen Rae Holmes, Singer, South Africa/Austria

I have utilized this method personally as an opera singer (Oper Frankfurt, Oper Wiesbaden, Wiener Kammeroper, Wiener Konzerthaus, Stephansdom Wien, Grazer Oper, Nico Milan Opera, Cape Town, Playhouse Opera, Durban, Civic Theatre, Johannesburg, State Opera, Pretoria, Opera Bratislava, National Theatre in Budapest, Wiener Festwochen, Klangbogen Festival et al.) and in my teaching with extraordinary success.  

The artist’s personal and emotional levels of awareness and control are increased, which affect his/her technical achievement and capability and the artistic quality of that performance. 



Özlem Winkler-Özkan, Singer, Actress, Turkey/Germany

Working with the P.E.M. makes you so clear and intense about everything you do on stage or film. Whether I act or do Opera, I get instantly noticed - and hired.



Sarah Victoria, Actress, Austria/Germany

My studies began with Strasberg and Stanislawski, I dipped into Meisner, but when I hit on P.E.M. I knew I had finally found a way to truly master my profession. The method gives me the possibility to use emotions to capture the audience, to portray the inner life of my characters and a deep artistic security at the same time.



Danielle Elfaye, Dancer, Austria/France

P.E.M. opened potential in areas of emotionality, expressiveness, authenticity, permeability, dynamic, personal development and team work for my dancing company. The awareness P.E.M. produces even replaces the mirror as controlling instrument ... suddenly our audience perceived us as acting dancers, lived with the stories we told, our characters became tangible ...



Comments on plays performed by actors trained in the P.E.M.

Kerék Imre, Poet, Winner of the Jozsef Attila Award, Hungary

“This wonderfully moving play by the author Stephan Perdekamp addresses highly acute topics in a way that the spectator can re-live these carthatic moments both with the eyes and the heart. I had the honor of witnessing an emotionally absorbing performance that really gets under your skin.“



Dr. Roland Haas, Principal of University Mozarteum Salzburg (Retd.), Dramaturg, Fine Arts Educator, Germany

“When I recall that evening at your theater, it still revokes these captivating images. You rather elude into a dream world than a theater play as you know it. […] Theatrically, you achieved a great thing. [...] Important names like Artaud, Nitsch, Grotowski come to mind.“

Harald Haidvogl, Clinical Psychologist, Austria

“From the very beginning, one can feel this tense and captivating atmosphere. Within minutes you forget that you are watching a performance and not experiencing reality. From the first scene onwards, you feel trapped in this landscape of human passion and conflict that you so suddenly and intimately witness. Perdekamp’s theater can be seen as 'True Theater' where unfiltered emotions hit the audience’s heart and stomach mercilessly.“