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Senior Lecturer, Theatre Studies
School of Creative Industries
BA Performing Arts/UDESC Brasil, MTA Directing Vic., and Toi Whakaari New Zealand Drama School.
I am a dedicated theatre artist driven by the commitment to search for the possibilities that play at the intersection of theatre tradition and innovation; my ultimate goal as a cultural activivist is to find poetic solutions for human experience and to nurture an uncompromising attitude towards arts practice and life.
I am a theatre director, deviser, dramaturge, researcher and teacher in the areas of theatre history and theory, clowning, mask improvisation and acting training with experience spanning more than 20 years. I am inspired by the work of Jacques Copeau, Konstantin Stanislavski, Antonin Artaud, Bertolt Brecht, Vsevolod Meyerhold, Jerzy Grotowski, Dario Fo and Lacques Lecoq.
I am a senior lecturer of Unitec - Performing and Screen Arts Department, founder and director of LAB Theatre, and since 2009 the company created: One By One (2013) STAMP – The Edge - Arts Development Program at The Herald Theatre as part of 2013 Auckland Fringe Festival, The Whau Fables, a theatre intervention at The Rosebank Artwalk as part of Auckland Arts festival 2013, Comic Interludes (2012) a collaboration with The Edge/Auckland City Council – a street theatre performance in the back of a truck as part of Wrapping Christmas Festival; and Alfonsina (2009) performed at Wellington and Dunedin Fringe Festivals in 2010 and VERTICE BRASIL 2010 – International Theatre Festival in Florianopolis/Brasil.
In 2012 I gave a lecture/demonstration at L’Arlecchino Errante – Meeting Internazionale per l’arte dell’attore, organized by Scuola Sperimentale dell’Attore in Pordenone/Italy on the techniques of devising and acting training.
In 2008 I directed Touch Compass Dance Trust’s Harmonious Oddity. This work premiered at Maidment Theatre as part of Tempo Festival of Dance 2008 (Tempo Awards People Choice), with subsequent touring to Hamilton, Dunedin and it premiered in Melbourne, Australia as part of Art of Difference Festival in 2009.
In 2014, I collaborated with Moss Patterson’s Moko by Atamira Dance Company as a dramaturge and enrolled in PhD in Theatre at Auckland University researching the concept of play in acting training.
Graduate supervision of completed theses/dissertations
Masters theses or dissertations
Masters theses or dissertations supervised by Pedro Ilgenfritz as Principal Supervisor
Kudra, Carsten (2019). Looking through the eyes of others : an investigation into methodologies of 360 film making (Master of Design)
Masters theses or dissertations supervised by Pedro Ilgenfritz as Associate Supervisor
Gargiulo, David (2008). Active objects, passive dramas: How may design re-appropriate tools from the art of dramaturgy in the service of developing more meaningful products? (Master of Design)
Ilgenfritz, P. (2019). Masking to reveal: Mediating the real in prison documentary theatre. Performing Artefacts is an interdisciplinary conference hosted by the Performance of the Real Research Theme, The University of Otago, Ōtepoti/Dunedin, New Zealand.
Ilgenfritz, P., (Theatre Director) (2019). Mascaras, a theatre performance as part of International Theatre Festival, Festival Isnard de Azevedo/Floripa Teatro. Teatro da Ubro, 27 September, House of Fools.
Ilgenfritz, P. (2017). Belonging and theatre masks in Aotearoa: Mahuika Theatre Company and the theatre masks of 'Leilani'. Performing Belonging in the 21st Century - Australasian Theatre, Drama and Performance Studies (ADSA), Annual Conference, Auckland University of Technology - Auckland, New Zealand.
Ilgenfritz, P. (2016). Guide me without touching my hand: Reflections on the dramaturgical development of the devised-theatre show One by One. Auckland, New Zealand, UNITEC ePress Occasional and Discussion Paper Series (Vol. Number 4/2016).
Ilgenfritz, P. (2014). Dialectical Theatre and Devising: Dramaturgy as a Dialogue between the Author and the Audience. K. Trencsenyi, and B. Cochrane (Eds). New Dramaturgy - International Perspectives on Theory and practice. Bloomsbury: London.
Ilgenfritz, P. (2010). Heart, Honesty and Discipline: Mask Training and the Foundation of Lab: Research Theatre Company. E-Journals, New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia (Vol. Volume 3).
Ilgenfritz, P. (2010). The Preparatory Work for Neutral Mask Training: Breathing, Sustaining and Transition. Australasian Association for Drama, Theatre and Performance Studies 2010 Conference, Canberra, Australia, 29 June - 2 July.
Ilgenfritz, P. (2007). Workshop - A Dance/Theatre collaboration between theatre director Pedro Ilgenfritz and choreographer Catherine Chappell for Touch Compass Dance Trust. This was a workshop to develop material for a new show in 2008. Auckland, TAPAC - The Auckland Performing Arts Centre.