Ysabel has worked in a variety of fields with the common theme of performance. She has been an acting and voice coach for many years. She gained invaluable experience working in three weekly rep in Kenya, doing everything from acting and stage managing to costume, props, and set-building, and on the London fringe. She has worked as assistant director for Jenny Quayle (Cue Productions La Ronde 2015), for Michael Mavor (The Resistable Rise of Arturo Ui), for Bert Amies, and for James Falkland, James (Jimmy) Ward and Debonnaire Falkland in Kenya.
She has taught presentation and communication skills and neuro-linguistics for personal and professional development, and works in a more therapeutic vein specialising in performance anxiety of all kinds, and as a mentor and personal development coach. She has also brought her innovative methods to supporting young people with dyslexia, dyspraxia, and autism. She acts as presentation consultant for artists such as Dash Macdonald (The World Leadership Project) and Dionysia Mylonaki (Voice Booth – decoding Marilyn Monroe).
Ysabel graduated first class from Central before taking distinction on the Kings/RADA MA in Text and Performance. Her PhD examined Stanislavsky’s acting exercises and developed a new perspective on his System. She holds licenciate diplomas from LAMDA, Guildhall and the Royal Academy of Music and is a double Master Practitioner of NLP of many years standing.
Ysabel has taught at Brunel, E15, The Actor’s Centre and Goldsmith’s as well as privately. She has been teaching at Goldsmith’s for over 10 years. Originally invited to teach Stanislavsky’s Method of Physical Actions at Goldsmith’s, she has since led workshops and seminars on Stanislavsky, Strasberg, Adler, Meisner, Chekhov, Artaud, Lecoq, Brecht, Grotowski, Brook and Meyerhold. She has proposed and developed units on Voice/Text/Shakespeare, Presence of Mind, and Viewpoints.
Currently, Ysabel teaches on the 2nd year Questions of Performance course - modules on Acting: Psychological Realism (Stanislavsky, the Method, and Meisner) and Voice and Text - and on the 1st year Questions of Dramaturgy course, including text analysis. She covers Stanislavsky, Strasberg, Adler, Meisner, and Viewpoints on the MA Performance Praxis, and advises on postgraduate essay writing and study skills on that course. She has also taught communication skills, voice and presentation for screen on the MA in TV Journalism for the Department of Media and Communications.
Ysabel did 15 years’ ballet training, and has also studied modern dance with Arlene Philips, tap, Alexander technique, Feldenkrais, Yoga, Tai Chi and Chi Kung. She has attended a wide variety of trainings over the years, including Comedy Acting, Directing, Working with the Jungian Shadow, Shakespearean Comedy, Physical Comedy, Stand-up Comedy, and singing and voice, with Barry Jobling, Cicely Berry, and Alan Mars.
She has studied deep cultural modeling in Bali (including dance, gamelan and mask work), African drumming, Improvisation with Keith Johnstone, and Social Drama with Bert Amies, five different Viewpoints courses including with Daniel Kramer, Fitzmaurice voicework with Catherine Fitzmaurice, One Voice with Joan Melton, Ivana Chubbuck Method with Ivan Chubbuck, and Lecoq with Complicite.
She is a member of the Society of Teachers of Speech and Drama, a LAMDA recommended teacher, and a member of the International Centre for Voice.
Awards, grants and media appearances
AHRB full award for PhD.
Ysabel was awarded a place at the Mellon School of Theatre and Performance Research at Harvard University 2015.
Ysabel’s subject area is performance, specialising in acting, voice, presentation and communication skills. Her research reframes acting and performance as deliberate manipulations of subjective experience and brings aspects of the unconscious into conscious awareness, and has resulted in the development of two new cognitive models framing human experience and the work of the actor. She uses these new models and her wide range of experience to mentor young actors, students and theatre professionals, and to coach presentation.
Recently, she has developed her experience and academic research into two new cognitive models, the Spatial Adpositional Model of Experience and the Actor’s GRAFT, which provide an innovative and explicitly articulated perspective on human experience and the specifics of actor training, allowing for precise comparisons between practices at the unconscious level. As well as using them to teach acting, she is currently using these new models to compare Stanislavsky with other practitioners and is disseminating them via conferences and talks.
Stanislavsky’s system as an enactive guide to embodied cognition?
Clare, Ysabel. 2016. Stanislavsky’s system as an enactive guide to embodied cognition? Connection Science, pp. 1-21. ISSN 0954-0091
A system behind the system: but is it Stanislavski?
Clare, Ysabel. 2016. A system behind the system: but is it Stanislavski? Stanislavski Studies, 4(2), pp. 89-109.
Stanislavsky’s quest for the Ideal Actor: the System as Socratic encounter
Clare, Ysabel. 2016. Stanislavsky’s quest for the Ideal Actor: the System as Socratic encounter. Theatre, Dance and Performance Training, 7(2), pp. 148-164. ISSN 1944-3927
A Study of the Structure of Subjective Experience in Stanislavsky’s 'An Actor Prepares'
Clare, Ysabel. 2014. A Study of the Structure of Subjective Experience in Stanislavsky’s 'An Actor Prepares'. Doctoral thesis, Goldsmiths, University of London