Born and raised in Hanover, Germany. He studied acting at the Max Reinhardt Seminar and the Felix Mendelssohn Bartholdy University of Music and Theatre Leipzig. Speech training and rhetoric at the University of Regensburg.
His theatre engagements took him to the Schauspielhaus Leipzig, Staatstheater Augsburg, Schlosstheater Celle, Hersfeld Festival, Schlossparktheater Berlin and the Opera Cologne. Collaborations followed with Konstanze Lauterbach, Michael Sturminger and Carlus Padrissa / La Fura dels Baus, among others.
As a pupil of Prof. Dr. Horst C. Coblenzer, he teaches according to the breath-rhythmically adapted phonation method of Coblenzer/Muhar. His teaching is supplemented by, amongst other things, insights from the Lichtenberg School of vocal physiology and elements of British voice training according to Cicely Berry.
He has taught speech and voice training since 2006 through lectureships including at the acting department of the Folkwang University in Essen and the Max Reinhardt Seminar in Vienna. Alongside this, he works continuously as an acting and dialogue coach for various film and television productions, as well as a speech tutor at theatres, in seminars and for festivals throughout the German-speaking world.
Current research: He is currently a key researcher in the PEEK project: Philosophy in the Arts : Arts in Philosophy. Cross-Cultural Research on the Significance of the Heart in Artistic Research (AR) and Performance Philosophy (PP), funded by the Austrian Science Fund (FWF): Grant-DOI: 10.55776/AR822.
Publications
Florian Reiners, Susanne Altweger: The spoken image – The method of vivid speech for artistic speech formation, Falter Verlag, 2022
Link to Falter Verlag
Article in the mdw magazine
Pictures speak: Using inner imagery to create a vivid language
Interview in the mdw Magazine
The voice as a seismograph of the soul
Significant for my teaching is …
„The spoken image.".
In the „spoken image“, the multi-layered relationships between thoughts, breath and body can be explored in their entire complex context and gradually understood.
This process is quite similar to an exciting detective story, where the prerequisites of an „act“, previously unclear, are gradually discovered. The subject of speech and drama provides the necessary intellectual and vocal craft with the aim that the respective personality of the actors gradually becomes visible and audible in performance and speech—and that this hard-won freedom of expression can also be transported into any given space.
The surplus of working together on a „spoken image“ would be that ultimately the actor – much like the enigmatic figure of the painter in a famous Chinese legend – disappears into their own image...“
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