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Sunday evening, 26 October 2025, Aptera, Crete Dear Anne Marie, Andre, Boris, Helen, Katharina, Martina, Marta, Nick, Valentina, Yvonne, and all our Labbers. As I am reflecting on what happened over the six days during our Physical Lab Retreat, distilling the process, it comes down to two very simple questions that were at the centre of our research. What obstacle in your acting craft do you wish to overcome, and are you ready to do so? What can you already recognise emotionally in the scene and in the character you have chosen to work on? The first part of the workshop unfolded with creative dialogues on where everyone stands in their craft and what they truly care about right now — existentially, artistically, emotionally, intellectually. This dialogue set the tone for our community and our research, allowing us to dive organically into each actor’s inquiry. We then went to the Ancient Aptera Theatre, where each actor explored their scene. We experienced ten authentic presences, ten different stories, ten magnetic universes. All actors dove into each scene with such fun and ease, with a true sense of playfulness, regardless of the material. During the second stage, I worked one-on-one with the actors. The guiding question remained: what are you researching right now? All I was prepared to do was introduce technical embodiment tools to support the deepening of their research and the embodiment of their discoveries. This approach allowed for effortless, authentic acting captured on camera. And all of this was taking place before we even dove into the actual scene work, where we investigate the scene circumstances and the character. And yet, we already had some incredible tapes in character, as the actor engaged with a personal inquiry—researching, embodying, or resolving a task that was central to their development. I will elaborate on the process of scene work in my next letter. For now, I wish to highlight that we are discovering and experimenting with the idea that true evolution lies in taking the space to see, confront, and move through what you are ready to face in your artistic process. Only then can you truly own it in the moment, as it comes from within you. This is real, conscious growth — a pathway to meeting and claiming your own creator. Thank you all for your incredible desire to grow — both artistically and existentially. My warmest wishes to you all and thank you for your honest growth.

Dear Labbers, Through my ongoing research into presence, I’m exploring how grounding the work in the actor’s own inquiry makes the acting more alive, embodied, and authentically human. Since returning from Crete, I have been applying these principles in online sessions with actors who’ve been preparing for roles and auditions. We start by exploring with “What is your current research in developing your acting craft? Where do you feel you have true ownership, and what is your current struggle?” Every actor’s inquiry is different: one might want to take bolder risks, another to embody their voice fully, another to explore the rawness of the emotions through the lens of the character or the freedom of impulses discovered through embodiment, or to perform an extended scene free of interruption to see where presence can guide them. What is key is that these inquiries emerge from each actor’s individual research; from what they are prepared to investigate. True evolution happens when the actor is ready for it, not when someone else prescribes it. Once this groundwork is laid, we focus on character and the circumstances of the scene. The question now is: “What emotions do you already recognise in both the circumstances and the character? What aspects do you naturally relate to or feel empathy for?” By beginning from an emotional understanding they already possess, actors can enter a creative dialogue that feels alive, natural, and deeply grounded—freeing them to experiment and explore new possibilities within the scene. There’s a profound difference between letting your preparation emerge from within and constructing a scene to meet external expectations. When you honour this inherent connection, the resulting growth becomes authentic, embodied, and fully your own. Acting is most compelling when it carries an existential dimension—characters must be felt as human beings whose emotions and thoughts are intertwined. In essence, Physical Lab is—and will remain—a space for exploration and embodied presence, continually evolving to help actors access their most liberated artistic expression. My warmest wishes,

Dear Labbers, As for many of us, Covid was a period of my life that offered a lot of introspection. I was able to truly dive deep during these times and find further clarity in my life and work. Although I have loved acting and directing, nothing makes me feel more present or alive than teaching. It comes naturally. I don’t have to think. All that is required is just to listen to my instinct with immense presence while in creative dialogue with my actors. It is true bliss when you are consciously in your element. If we’ve had the opportunity to share time together in the studio, you know how important research is to our work. It is a constant investigation into the principles of Embodiment, Pleasure, Presence, Deconditioning, and more. However, the research is not just limited to the studio, and I often try to find opportunities to further dive into this research in other, real-world contexts for further expansion and awareness of my teachings. After a recent partial move back to Athens, one such opportunity for research was an audition I initiated with a wonderful casting director. She is someone I have worked with before, and my extended stay in Athens felt like the right chance to take on this new investigation. After reaching out, she invited me in for a casting. I went in blind, with no script. They did not give the sides to me until after I had arrived. I decided this was a great opportunity to practice true presence. Upon arrival, I had a conscious awareness of my legs. This is my current task and exploration: to discover where I feel disconnected from my body. I recently noticed I habitually lift my shoulders, which prevents me from feeling my body weight. Feeling my body weight offers me the weight of my presence—physically, emotionally, and it is almost as if my consciousness has a home and way to be here. As a practice for presence and embodiment, I used my awareness of the legs and habitual lifting of the shoulders as a tool to help me be more in the moment with myself and the others in the room. I found myself available to listen and to relax into my essence. The meeting went great. I felt present and available. But more importantly, I felt naturally myself and rather playful, which is very much me. I was given the script and offered a few minutes to look it through. And this is where I went wild. I read it through twice, just to see what it was about—to understand what EVERYONE was saying, not just my character—and to understand the circumstances and dynamics of what was happening. As I read, vivid images of characters I’ve been developing with my actors over the past few years came to mind. One such image was Matthew McConaughey's character in Wolf of Wall Street . This immediately gave me a tempo in how the character spoke and a physical liberty of how he moves in the body. My body was saying ‘yes’ to this idea, and so I let this energy come into my reading. With this energy in place, and while keeping an open mind to new discoveries, I started practicing the Ownership of the Text exercise on the sofa. I was repeating the words until I was fully tasting them—until I was landing into an ownership. Ownership at times felt like embodied presence through the language, and other times it was me landing into an idea about the line. An idea would be an action that I chose to embody or it was a physical choice, like leaning forward or changing position. My physical choices were always filled with intention, such as leaning forward to speak quietly or to put emphasis or be cheeky. After a few minutes of research, I felt that I was done and put the script down to check emails on my phone. I felt that I now needed to let myself breathe. Then I got called in. I had the best time in research mode! Being in research was key. Before we began, I told the casting director and the others in the room it was possible I might repeat a phrase if I felt I needed to as it helps my delivery. I said it may or may not happen, and hoped this was okay. That was all they needed to know. They were fine with it. What I was doing at that moment was signing a contract of presence with myself— meaning that if I found myself just ‘wasting’ a phrase or even a few words without embodying it, I was giving myself the opportunity to return to awareness and discover meaning and purpose. Most importantly, it was a promise to offer my very best in the casting. To my surprise, I ran the scene without needing to repeat the first time around. Doing my best to objectively view the delivery, my inner coach felt I had delivered a pretty solid and honest performance. They were very happy, and without giving notes, they asked to do the reading one more time. During the second readthrough there was one line that I felt I didn't quite grasp, and so I committed to my promise and used repetition to reattempt the delivery. I'm so glad I did because I came up with something completely different, which allowed me to stay present for the rest of the scene. I finished my reading and was then quickly dismissed. My heart sank. I really felt for all of you, as so many times you've told me about how abruptly these castings end at times. Now, bear in mind I know the casting director personally, and I was greeted warmly when I first arrived. Even the director, who I had met for the first time, was also warm and pleasant. But when the reading was done, I was thanked for my time and quickly escorted out. To be honest, I was a bit shaken. I had to sit in my car, think through the events, and remind myself that I’ve known the casting director for five years and I know how much she cares for actors. I have proof that she really trusts me and respects my work. I had to remind myself that she has really fought for me in the past. I had to bring myself back to reality and remind myself that the sudden dismissal was not personal. In fact, I remembered the same thing has happened before. The decision was not a reflection of my work, but one of time. There were another 10 people they had to see after me. My heart really went to all of you who are experiencing this every day. Please remember an abrupt ending to a casting—or even one that begins suddenly or is dry from beginning to end—is not about you. It has to do with time, people’s personalities, and so many other factors that are beyond your influence or control. It took me about 10 minutes to ground myself and release being shaken. Most importantly, to build my own resilience for similar situations in the future, I made a commitment to myself to stay present with my work, no matter the circumstances. It took a moment, but I can say that I am looking forward to the next casting, in Athens or in London, and for the opportunity to further research and experience more insights so I may more deeply connect with each of you. So my invitation is this: take your research with you for presence & resilience in your next casting Start with wherever you are in your acting journey, just as I did with awareness of my legs. Take your research with you and allow the casting to be an opportunity to dig further into your own inquiry—to find your own freedom and get in touch with your artistic spirit. And while you're in this research, make some quick decisions. Trust your instinct and find a hook for the character. Find a choice that enhances your understanding. If you are offered some time to look this through, keep going it over and over through repetition. Apply the Ownership of the Text exercise. Then let it all go and try practicing presence. When you feel you’re not as present or connecting with the text, repeat the phrase. Repeat it with all your might! Keep inviting yourself to be free with your talent and with your spirit. Then go home, evaluate what worked, what didn’t work, and take this knowledge with you to the next casting, rehearsal, performance, or even conversation with friends and family. No matter the practice, whether it is a morning routine—whatever is coming next—try to be as present and understanding of yourself as possible. With love,

Join Tatiana for this one-day explorative Lab in Paris! Whether it's your first time or you're a seasoned Labber, join us for this one-day-only event to reconnect with your body using the tools of the Physical Lab! START THE NEW YEAR WITH EXPLORATION START THE NEW YEAR WITH EXPLORATION START THE NEW YEAR WITH EXPLORATION START THE NEW YEAR WITH EXPLORATION ONE DAY LAB 23 MARCH 2025 | PARIS WITH TATIANA SPIVAKOVA ONE DAY LAB GRAB A BITE OF FREEDOM! A one-day dive into the unique world of the Lab, a space dedicated to exploration and reconnection with your body and yourself where everyone is welcome! Curious first-timers will find this to be an opportunity to experience what the Physical Lab is all about through a whole day of pure exploration—a fun, liberating and immersive journey into the freedom within your body! For our regular Labbers, this is the perfect space to practice the Lab’s tools and techniques under Tatiana’s guidance—a space to release tension, regain grounding, connect to yourself and others, access all parts of your body, or simply jam and have a blast! This one day lab is an invitation to take time for yourself, reload, breathe, move, feel, and enter this new year with bliss! Just come! APPLY NOW ONE DAY LAB PRENDS UNE BOUCHÉE DE LIBERTÉ! Un jour pour plonger dans l'univers unique du Lab, un espace dédié à l'exploration et la reconnexion à son corps et à soi-même. Tout le monde est le la bienvenue ! Les nouveaux.elles curieux.ses auront l'opportunité d'expérimenter les outils du Lab à travers une journée entière de pure exploration—un voyage amusant, libérateur et immersif pour accéder à la liberté au dedans du corps ! C’est avant tout une parfaite occasion pour découvrir ce qu’est le Physical Lab…! Pour nos Labbers régulier.es, c'est l'espace idéal pour pratiquer les outils et techniques du lab sous la guidance de Tatiana—un espace pour relâcher les tensions, retrouver son ancrage, se connecter à soi-même et aux autres, accéder à toutes les parties de son corps, ou simplement faire un jam et exulter ! Ce laboratoire d'une journée est une invitation à prendre du temps pour soi, se ressourcer, respirer, bouger, ressentir et rentrer cette nouvelle année avec grâce ! Venez ! LOCATION: Espace Albatros - Salle Jean Epstein Fabrique des Arts et du Spectacle 52 Rue du Sergent Bobillot 93100 Montreuil DATE & TIME: Sunday, 23 March 2025 11:00 - 19:00 PRICE: €120 Standard price €100 Labber price CANCELLATION POLICY We have a cancellation policy of three weeks prior to the start of the Lab for short workshops and one calendar month for residencies. After this, we cannot offer refunds unless another participant can be found to take the place. Please note that if you are unable to attend a workshop after you have applied, you may transfer your place to a new participant. In the case you cannot find someone to take your slot, an Administration Fee will be charged for assistance in finding a new participant. Fee subject to length and level of the workshop. APPLY APPLY NOW ONE DAY LAB | PARIS 23 MARCH 2025 First Name Last Name Email Phone Link to CV/Spotlight/Website Letter of Interest Please choose one: * Standard Price - €120 Labber Price - €100 *Please see the note regarding Labber pricing to determine your eligibility. I want to subscribe to the newsletter. I agree to the terms & conditions APPLY €120 STANDARD PRICE €100 LABBER PRICE Please see more about Labber Pricing to determine your eligibility.

Join Tatiana for this four-day exploration Lab open to all, both performers and non-performers. Decondition, unfold and free the mind and body to feel your grounded, true presence! 20 - 23 FEBRUARY 2025 | PARIS A STUDENT-ONLY LAB WORKSHOP WITH TATIANA SPIVAKOVA LAB METHODOLOGY This methodology aims to promote access to presence and authenticity in performance, through the body as the primary tool for work. We will work both in groups and individually to explore our impulses and allow ourselves to improvise (both in our movements and with text), explore our body memory, take ownership of a text or language, and unlock scenes. The goal is also to identify and let go of our personal habits (such as physical tensions, etc.). After working for many years alongside Yorgos Karamalegos, I have adopted his Physical Lab technique, inspired by great figures such as Lorna Marshall, Yoshi Oida, and DV8. I am now happy to apply it in my work, whether as an actress, director, or teacher. The Physical Lab method is rich in tools and research keys for an artist's journey. It has also allowed me to reconnect with my body and understand that it holds all the answers in the world within itself. Cette méthodologie tend à favoriser l’accès à la présence et à l'authenticité en jeu, en passant par le corps, comme premier outil de travail. Nous travaillerons autant en groupe qu’individuellement, pour explorer nos impulsions et nous permettre d’improviser (dans nos mouvements et avec le texte), explorer notre mémoire corporelle, nous approprier un texte, une langue, déverrouiller des scènes… L’enjeu est aussi de cibler nos petites habitudes personnelles (tensions physiques, etc…) et nous en défaire. Après avoir travaillé pendant des années aux côtés de Yorgos Karamalegos, je me suis approprié sa technique du Physical Lab, inspirée de grands comme Lorna Marshall, Yoshi Oida ou encore DV8, et suis heureuse de l’appliquer aujourd’hui dans mon travail, que ce soit en tant que comédienne, metteuse en scène ou pédagogue. La méthode du Physical Lab est riche d’outils et de clefs de recherche pour le parcours d’un artiste. Aussi, elle m’a permis de me reconnecter avec mon corps, et comprendre qu’il contient à lui seul toutes les réponses du monde. APPLY NOW TATIANA SPIVAKOVA photo by: Mara Zampariolo Comédienne, metteure en scène, auteure et musicienne, Tatiana Spivakova a tout d’abord suivi des cours de formation musicale, chant et danse classique au Conservatoire municipal Francis Poulenc avant d’obtenir un diplôme de fin d’études en flûte traversière au CNR d’Aubervilliers. Parallèlement, elle se forme au Cours Simon puis est reçue au concours de la Classe Libre du Cours Florent, et au Conservatoire National Supérieur d’Art Dramatique de Paris (dont une année passée à la LAMDA). D’origine arménienne et russe, Tatiana est quadrilingue et se produit ainsi sur de nombreuses scènes nationales ou internationales, participant à de nombreux festivals de théâtre ou de musique à travers le monde. (Ainsi, elle est auteure et récitante sur l’opéra Carmen dirigé par Jean Christophe Spinosi à Valladolid, puis au Brest Arena ou encore à l’opéra Royal du château de Versailles, puis sur l’opéra Eugène Onéguine ou encore Harold en Italie de Berlioz lors du Festival International de Colmar.) A Londres, elle travaille avec le metteur en scène Yorgos Karamalegos avec qui elle anime des stages de Théâtre en Mouvement "Physical Lab" et joue dans sa création HOME, au Physical Fest de Liverpool. Au théâtre, elle travaille entre autres avec Paul Desveaux, Frederic Jessua, Georges Lavaudant, Dorothée Zumstein et Marie Christine Mazzola, Bachar Mar Khalifé, Julien Kosellek, Pauline Bayle ou encore Tamara Al Saadi. Tout aussi fascinée par la mise en scène, elle co-dirige la cie Memento Mori et crée « Lisbeths » de Fabrice Melquiot, traduit et met en scène « Dans les Bas-Fonds » de Maxim Gorky, « Les Justes » d’Albert Camus. Plus tard, elle redonne vie à « Passagères » de Daniel Besnehard, pour laquelle elle traduit des poèmes d’Anna Akhmatova. Dernièrement, elle écrit et met en scène « Ton Corps - Ma Terre » avec des extraits de textes de Mahmoud Darwich au Théâtre Public de Montreuil, pour laquelle elle reçoit l’aide à la création de textes dramatiques Artcena. A l'écran, elle tourne dans trois longs métrages en France, en Géorgie et en Arménie. (Même pas mal de M. Roy et J. Trequesser, et In Mid Wickedness de William Oldroyd et Gate to Heaven de Jivan Avetisyan.) Parallèlement à tout cela, Tatiana est passionnée par la transmission et enseigne dans plusieurs écoles de théâtre comme le Cours Florent. Elle prépare les comédien.nes aux concours nationaux, aux castings, ou travaille en coaching pour des rôles… Voilà plus de dix ans qu’elle travaille aux côtés de Yorgos Karamalegos comme artiste associée au Physical Lab, et délivre ainsi des Labs en France et à l’étranger dès que l’occasion se présente. STUDENT LAB: PARIS 20 - 23 FEBRUARY 2025 All students welcome! Join Tatiana for a 4-day Lab this February in Paris. Decondition, unfold and free the mind and body in order to feel your grounded, true presence! Please note, this Lab is for students only and is intended to help participants prepare for their upcoming exams & auditions. 4 jours de laboratoire réservés au étudiant.e.s en art dramatique! Venez déconditionner, libérer le corps et offrez vous un vrai temps d’exploration de vos scènes, monologues, pour préparer vos concours ou vos auditions autrement. 4 jours pour vous débarrasser des pensées parasites, vous ancrer au présent et retrouver le plaisir d’être au plateau! Location: Espace Albatros - Salle Jean Epstein Fabrique des Arts et du Spectacle 52 Rue du Sergent Bobillot 93100 Montreuil Date & Time: 20 & 21 February 2025 14:00 - 19:00 22 & 23 February 2025 11:00 - 19:00 Price: €380 Student price CANCELLATION POLICY We have a cancellation policy of three weeks prior to the start of the Lab for short workshops and one calendar month for residencies. After this, we cannot offer refunds unless another participant can be found to take the place. APPLY APPLICATION 20 - 23 February 2025 | PARIS First Name Last Name Email Phone Link to CV/Spotlight/Website Letter of Interest Please choose one: * Student Price - €380 I want to subscribe to the newsletter. I agree to the terms & conditions APPLY €380 STUDENT PRICE PAYMENT

Physical Lab is an international lab for actor training and embodiment. Workshops, masterclasses, mentorships, residencies, and private coaching are offered to actors and performers seeking to improve their craft utilising the body as the point of entry. SEE WHAT'S ON A LABORATORY FOR PRESENCE IN ACTING Discover presence and its embodiment as an essential tool for authentic expression, and learn how to bring this fully into your own performance. WHAT WE OFFER WORKSHOP Our workshops are short format Labs—usually one to three days in length—and intended for those who are new to the Physical Lab methodology or looking to brush up on their performance training. BEST SUITED FOR: STUDENTS | ALL LEVELS STUDENT PREP Our two to four day preparatory Labs are student-only programmes designed for young actors preparing for school exams or those wishing to audition for drama school. BEST SUITED FOR: STUDENTS MASTERCLASS Our masterclasses provide an in-depth, group-focused exploration of Embodiment for seasoned actors & Labbers, using a set of tools to unlock subconscious results and enhance authenticity in performance. BEST SUITED FOR: EXPERIENCED | PROFESSIONALS RETREAT The Physical Lab Retreat combines the Mentorship Programme structure with Crete’s natural beauty. Over six days, participants receive personalized training and career guidance from Yorgos. BEST SUITED FOR: PROFESSIONALS MENTORSHIP For professional actors aiming to advance their careers, our 6-day Mentorship programs provide personalized training and creative guidance to refine their unique acting technique. BEST SUITED FOR: PROFESSIONALS PRIVATE COACHING Want to refine your technique, build a character, or prepare for an upcoming project? Private one-on-one coaching is available with Lab founder Yorgos for actors and performers. BEST SUITED FOR: EXPERIENCED | PROFESSIONALS UPCOMING LABS BRUSSELS PRO LEVEL 2-DAY PRESENCE IN ACTING LAB | BRUSSELS 14 & 15 FEBRUARY 2026 An immersive two-day workshop dedicated to cultivating presence and authenticity in performance. This work is a journey toward uncovering one’s most authentic self and embodying a free, uninhibited artistic spirit. MORE INFO YORGOS KARAMALEGOS PARIS EXPERIENCED AUDITION INTENSIVE 19-22 FEBRUARY 2026 Join Tatiana Spivakova for a four-day immersive Lab exploring the art of auditioning—an experiential journey uniting technique, presence, and authenticity. This intensive offers a safe, exploratory space to rediscover freedom within structure and truth within performance. MORE INFO TATIANA SPIVAKOVA TALLINN PRO LEVEL 2-DAY PRESENCE IN ACTING | TALLINN 24 & 25 FEBRUARY 2026 An immersive two-day workshop dedicated to cultivating presence and authenticity in performance. This work is a journey toward uncovering one’s most authentic self and embodying a free, uninhibited artistic spirit. MORE INFO YORGOS KARAMALEGOS ATHENS PRO LEVEL 2-DAY PRESENCE IN ACTING LAB | ATHENS 7 & 8 MARCH 2026 An immersive two-day workshop dedicated to cultivating presence and authenticity in performance. This work is a journey toward uncovering one’s most authentic self and embodying a free, uninhibited artistic spirit. MORE INFO YORGOS KARAMALEGOS CRETE PRO LEVEL PHYSICAL LAB RETREAT 28 SEPT - 5 OCT 2026 Dedicated to cultivating presence and authenticity in performance, the Physical Lab Retreat is a journey toward uncovering one’s most authentic self and embodying a free, uninhibited artistic spirit. MORE INFO YORGOS KARAMALEGOS DISTINGUISHED LABBERS Physical Lab is fueled by the talent of world-class professionals from across the globe. SIMONA BROWN LONDON JOSÉPHINE BERRY PARIS DORIS TISLAR TALLINN MICHEL BIEL PARIS & LOS ANGELES CYRIL GUEÏ PARIS JONATHAN HOWARD LOS ANGELES DIANE VENORA LOS ANGELES TOM KELSEY LONDON SOPHIE AUJESKY VIENNA RODA FAWAZ BRUSSELS ZINA KHAKHOULIA PARIS ALEX MCMORRAN LONDON ALEX CROCKFORD LONDON MARQUISE ALSTON LOS ANGELES JIMENA LARRAGUIVEL LONDON OUR LABBERS HAVE WORKED WITH THE BIGGEST NAMES IN THE INDUSTRY! AND MORE FEATURED ARTICLES Exploring Acting from Within: Self-Research to Scene Work Every actor’s inquiry is different: one might want to take bolder risks, another to embody their voice fully, another to explore the rawness of the emotions through the lens of the character or the freedom of impulses discovered through embodiment, or to perform an extended scene free of interruption to see where presence can guide them. Yorgos Karamalegos Nov 3, 2025 2 min read A letter from Aptera, Crete As I am reflecting on what happened over the six days during our Physical Lab Retreat, distilling the process, it comes down to two very simple questions that were at the centre of our research: What obstacle in your acting craft do you wish to overcome, and are you ready to do so? What can you already recognise emotionally in the scene and in the character you have chosen to work on? Yorgos Karamalegos Oct 25, 2025 2 min read Spiritual Embodiment — the essential foundation for authentic presence in acting The last two Mentorship Masterclasses—the one in Paris in November 2024 and particularly the one we just finished in London—have become the closest we have ever been to our real nature: an open space for true research in presence and performance. Yorgos Karamalegos Jun 7, 2025 3 min read 1 2 3 4 "I didn’t realise how forcefully that lock was going to burst open and how the work that we’re doing is just so important—not just for you as an actor, as an artist, but as a person!" NOOR HAMDI NYC "Yorgos has such an understanding and knowledge of how to take care of ourselves on a personal level when we’re doing this kind of work and living this kind of life." HELEN PERCIVAL LONDON CONTACT US Have questions about the Lab that you don't see answered on the website? Want to bring the Lab to your city? Feel free to drop us a line using the contact form, or emailing directly to the address below: info@physicallab.co.uk Name* Email* Subject Long answer Submit