Prof. Frank Camilleri

Prof. Frank Camilleri

Prof. Frank Camilleri


Associate Professor

Room 306
MaKS Building
University of Malta
  +356 2340 3603
Frank Camilleri is Associate Professor in Theatre Studies and Artistic Director of Icarus Performance Project (Malta). He served as Head of Department of Theatre Studies in 2004-08 and 2013-17, as well as Director of the School of Performing Arts in 2015-19. He was Lecturer and Senior Lecturer in Drama and Theatre Studies at the University of Kent in 2008-13; and Visiting Professor in Theatre and Performance at the University of Huddersfield in 2013-14.

He has worked with John Schranz (1989-2003), Ingemar Lindh (1994-1997), and Lech Raczak (1994, 1996). In 2001 he founded Icarus Performance Project (Malta), a research laboratory group that focuses on performance processes and actor training techniques. In 2007 he co-founded Icarus Publishing Enterprise with Odin Teatret and the Grotowski Institute with the aim of publishing English translations of texts by laboratory practitioners and scholars.

In the course of his activity in theatre Camilleri developed a way of relating to the work of the actor based on a study of elaboration of acrobatics, plastiques, martial arts, dance, and mime. He has also developed a vocal training regimen which evolved from the work on physical actions. He has performed, delivered workshops, given papers and demonstrations in various European contexts since 1994.

Camilleri has published articles on theatre as laboratory in TDR-The Drama Review; Contemporary Theatre Review; New Theatre Quarterly; Performance Research; Theatre, Dance and Performance Training; and Studies in Theatre and Performance. With Paul Allain and Stacie Lee Bennett he has co-edited the audio-visual resource PATAZ: Physical Actor Training – An Online A-Z (Drama Online 2018). He is the author of *Performer Training Reconfigured: Post-Psychophysical Perspectives for the Twenty-first Century* (Bloomsbury, 2019).
  • performer training
  • practice as research
  • contemporary theatre and performance
  • critical and cultural theory

CAMILLERI, F., 2020. From Bodymind to Bodyworld: The Case of Mask Work as a Training for the Senses. Theatre, Dance and Performance Training, 11(1), pp. 25-39,

CAMILLERI, F., 2020. A Hybridity Continuum: The case of the performer’s bodyworlds. Performance Research, 25(4), pp. 17-25,

CAMILLERI, F., 2019. Performer Training Reconfigured: Post-Psychophysical Perspectives for the Twenty-First Century. London: Bloomsbury

CAMILLERI, F., 2018. Clues on Technē. Performance Research, 23(4), pp. 309-312,

CAMILLERI, F., 2018. On Habit and Performer Training. Theatre, Dance and Performance Training, 9(1), pp. 36-52,

CAMILLERI, F., 2017. Inverting the Formula: Devising through Adaptation. New Theatre Quarterly, 33(3), pp. 240-253,

CAMILLERI, F., ed, 2015. Marco De Marinis's Etienne Decroux and His Theatre Laboratory . Holstebro–Malta–Wrocław: Routledge Icarus.

CAMILLERI, F., 2015. Of Hybrids and the Posthuman: Performer Training in the 21st Century. TDR-The Drama Review, 59(3), pp. 108-122,

CAMILLERI, F., 2015. Towards the Study of Actor Training in an Age of Globalised Digital Technology. Theatre, Dance and Performance Training, 6(1), pp. 16-29,

CAMILLERI, F., ed, 2014. Roberta Carreri's On Training and Performance: Traces of an Odin Teatret Actress. 1st edn. London: Routledge.

CAMILLERI, F., 2013. Between Laboratory and Institution: Practice as Research in No Man’s Land. TDR-The Drama Review, 57(1), pp. 152-166,

CAMILLERI, F., 2013. Habitational Action: Between Inner and Outer Action. Theatre, Dance and Performance Training, 4(1), pp. 30-51,

CAMILLERI, F., 2013. Ingemar Lindh and the Institutet för Scenkonst. In: J. BRITTON, ed, Encountering Ensemble. London: Methuen, pp. 266-269.

CAMILLERI, F., 2013. Making Visible the Invisible: Ingemar Lindh’s Practice of Collective Improvisation and Étienne Decroux. Contemporary Theatre Review, 23(3), pp. 390-402,

CAMILLERI, F., 2013. Yours Neutrally, Habitational Action: Performance between Theatre and Dance. New Theatre Quarterly, 29(3), pp. 247-263,

CAMILLERI, F., 2011. Of Crossroads and Undercurrents: Ingemar Lindh’s Practice of Collective Improvisation and Jerzy Grotowski. New Theatre Quarterly, 27(4), pp. 299-312,

CAMILLERI, F., ed, 2010, 2013. Ingemar Lindh's Stepping Stones. 1st edn. Holstebro–Malta–Wrocław: Routledge Icarus.

CAMILLERI, F., 2010. Tekhnē Sessions: Investigating Dynamic Aliveness in the Actor’s Work. Theatre, Dance and Performance Training, 1(2), pp. 157-171,

CAMILLERI, F., 2009. Of Pounds of Flesh and Trojan Horses: Performer Training in the Twenty-first Century. Performance Research, 14(2), pp. 26-34,

CAMILLERI, F., 2009. Tilting at Windmills: A Case Study Investigating Embodiment, Performativity, and Dramaturgy (online article). Icarus Project.

CAMILLERI, F., 2008. Collective Improvisation: The Practice and Vision of Ingemar Lindh. TDR-The Drama Review, 52(3), pp. 82-97,

CAMILLERI, F., 2008. Exploring the Liminal: Engaging the Space between Training and Performance Process. In: BRUCE WOODING, ed, International Theatre Movement Conference: At the Moscow Art Theatre School. London: Central School of Speech and Drama, pp. 27-30.

CAMILLERI, F., 2008. Hospitality and the Ethics of Improvisation in the Work of Ingemar Lindh. New Theatre Quarterly, 24(3), pp. 246-259,

CAMILLERI, F., 2008. 'To Push the Actor Training to Its Extreme': Training Process in Ingemar Lindh's Practice of Collective Improvisation. Contemporary Theatre Review, 18(4), pp. 425-441,

CAMILLERI, F., 2006. Dramaturgy of a Performance Process. 1st edn. Malta: Icarus Project.

CAMILLERI, F., 1998. Gisem l'Isem: Il-Kitba tat-Teatru f'Malta. In: VICKI-ANN CREMONA, MARCO GALEA, IMMANUEL MIFSUD, ed, Il-Kitba Teatrali f’Malta: Hemm xi Krizi?. Malta: Malta University Press, pp. 76-83.


• ‘The Body Politics of Acting in the Context of Training and the Performance Industry: Perspectives from Contemporary Britain’ (University of Kent)
• ‘Institutet för Scenkonst – An Analysis of its Past and Present Practice: 1971 - 2013: Investigating Improvisation Processes in Performance’ (University of Malta)
• ‘Transforming Everyday Life: The Political Struggles of Amateur Theatres, Meyerhold and Stanislavsky’ (University of Malta)
• ‘Vocal Actions: Channelling Impulse Through Form in Training Towards Performance’; Practice as Research PhD (University of Kent)
• ‘The Difference Butoh Makes: A Practice as Research Investigation of Butoh for Training and Performance’; Practice as Research PhD (University of Kent)

•‘Opera and Modern Stage Practice: An Analysis of the Contexts and Performance Process of Robert Wilson’s Madama Butterfly’ (University of Malta)

MA (Research)
• Danza di Spade: The Sword as Tool for Actor Training’ (University of Malta)
• ‘Writing with the Body: Exploring Écriture Féminine in the Theatre Practice of Ariane Mnouchkine’ (University of Malta)
• ‘A Fluid Variable: An Analysis of Femininity and the Female in Shakespeare’s Plays’ (University of Malta)
• ‘The Story of Imam Hussein: A Cross-cultural Experiment Inspired by Ta’ziyeh’; Practice as Research MA (University of Kent)
• ‘Narrative and Beyond: Photography as a Medium for the Analysis of Perception and Meaning within the Actor/Spectator Relationship’ (University of Malta)
• ‘Research Theatre in Contemporary Europe: An Analysis of the Means of Continuation’ (University of Malta)
• ‘The Semiotics of Samuel Beckett’s Drama’ (University of Malta)
• ‘The Way of the Pilgrim and Stories of Other Foreigners: A Dialogue between the Spiritual Exercises of Ignatius of Loyola and the Art of the Actor’ (University of Malta)