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Lee Carter | Anders Duckworth | Elena Lalucat | Tuan Ly | George Miles

Aine Reynolds | Cecil Rowe | Devaraj Thimmaiah | Elisa Vassena



Tuan cropBorn in Germany, Tuan is a London-based performer and movement director.

He trained and performed in physical theatre from 2006-2013 working with companies such as New International Encounter, Moonfool and touring in productions by Kasia Zaremba-Byrne.

In 2013, he went on to study at London Contemporary Dance School, completing an MA in Contemporary Dance in 2015.

Tuan has danced in works by Gary Clarke, Darren Ellis, Rui Xu, Rosie Whitney-Fish, Sebastian Abarbanell and René Alejandro Huari Mateus, amongst others. He has been guest dancer at Theatre Traverse in Luxembourg and Theater der Klänge in Düsseldorf, Germany.

Tuan joined Maresa Von Stockert’s Tilted Productions in September 2014.



How did you come to be a performer?

Originally, I was going to study sociology and become a social worker … Where I grew up there weren’t many opportunities to get involved in theatre or dance, but I always liked the thought of performing.  I moved to London and after my first semester at university, I realised I had a choice. I dropped into Drama and Physical Theatre and began my training in acting.


What is your earliest memory?

Walking from our flat to my grandmother’s house, which was 5 minutes away. I just remember walking on the pavement, and on the right side there was a playground and a sandpit and small family houses on the way. I really clearly remember the concrete on the floor, the plum tree, and the brown yellowish house my grandmother used to live in.


How do you prepare before a performance?

In order to prepare, I think it’s really important to get your mind and body ready. The actual physical moment and time is really important to me; to settle into the venue or location you are going to perform; to have some time with the other performers, to connect; to tune into your own body and to connect with what’s around. If there are props, making sure everything is set. It really helps me to have the time to check that everything is in its place, the material we work with and also my body.


How does performing outside feel compared to inside?

I guess when you perform outside the energies are different, because it’s a much larger space. It’s an endless space. When you perform indoors, you try to fill the whole room with your energy, but when you’re outside it’s different. In a way there’s no limit to where you can project your energy. As a performer you need to find a way to scale your performance to your surroundings.


If you weren’t a performer, what would you like to do?

I’d be a social worker! If I wasn’t performing, I’d probably find another occupation where I could support others and share with other people; so that might be somewhere within care work. I also teach performance and movement and enjoy it a lot.


What do you like to do on your day off?

I like to sleep. I think sleep is a great thing. It gives the body time to recover. I really enjoy allowing myself to sleep for 12 hours. I try to do this at least once a week. As part of this rest and recovery I try to eat healthily and spend time with friends, catch my breath, and do things that I can’t do until I have time off.