AUTHENTIC EMOTION ON DEMAND
The Perdekamp Emotional Method (PEM) is a groundbreaking, globally-acclaimed acting method that provides actors with a direct, effortless and safe access to authentic emotion on a purely physical basis, without using personal experiences or emotional memory.
PEM is a complementary tool to all other acting approaches.
Our goal is to provide actors with a safe, reliable means to stretch their artistic horizons and craft emotionally authentic performances without sacrificing their wellbeing or mental health.
PEM WORKSHOPS HAVE BEEN TAUGHT AT
PEM WORKSHOPS HAVE BEEN TAUGHT AT
PEM has been taught to over 10,000 students since 1994 across 55 countries and 6 continents, as well as leading universities and drama institutions worldwide.
“At SMU we are committed to exploring new approaches that not only promote and ensure well-being but invite boldness, pedagogies that empower students through embodied, experiential craft. With its unique approach, PEM is all of these things and more – a physically expansive invitation for our students to go farther and deeper into their work while building resilience and bravery. We’re thrilled to be the first U.S. training institution to host Sarah Victoria and PEM.”
– Blake Hackler
Actor, Chair and Head of Acting, SMU, Dallas, Director of Yale University’s Summer Conservatory for Actors, Certified PEM Instructor
“PEM is radically different from everything I’ve ever learned or taught. I believe PEM is the future of acting training.”
– Becky London
Actor & Teacher
“PEM is radically different from everything I’ve ever learned or taught. I believe PEM is the future of acting training.”
– Becky London
Actor & Teacher
“Ideally, PEM should be part of every training curriculum. The level of acting would go up 100%.”
– Mike Alfreds
International Theatre Driector, Author of ‘Different Every Night’
“PEM continues to astound me with its well of access into the most primal and intimate parts of myself, while threading into a knowing that the ensemble I’m with is deepening our connection as we collectively explore our shared humanity.”
– Ivory Aquino
Actress, Bat Girl, When We Rise
“PEM continues to astound me with its well of access into the most primal and intimate parts of myself, while threading into a knowing that the ensemble I’m with is deepening our connection as we collectively explore our shared humanity.”
– Ivory Aquino
Actress, Bat Girl, When We Rise
“What’s exciting about PEM is it’s repeatable to the point that you can hit the exact same point over and over again without the psychological distress. I think PEM is really looking at the future of theatre and the future of filmmaking and acting. “
– Budi Miller
Multidisciplinary Artist, Co-director of The Theatre of Others
“PEM paves the way for moving performances by creating emotional space and freedom in the body rather than holding onto emotional trauma and residue from the actor’s past. I also love that PEM does not conflict with other processes that I like to use such as script analysis. I do not feel that I have to abandon other approaches that work for me in order for PEM to be effective. PEM feels like a sturdy and reliable foundation. I believe that PEM is the next evolution of acting and I’m so excited to continue learning and applying PEM as I grow and expand as an actor.”
– Ingrid Alli
Actress
“PEM paves the way for moving performances by creating emotional space and freedom in the body rather than holding onto emotional trauma and residue from the actor’s past. I also love that PEM does not conflict with other processes that I like to use such as script analysis. I do not feel that I have to abandon other approaches that work for me in order for PEM to be effective. PEM feels like a sturdy and reliable foundation. I believe that PEM is the next evolution of acting and I’m so excited to continue learning and applying PEM as I grow and expand as an actor.”
– Ingrid Alli
Actress
“Stephan Perdekamp has created something extraordinary, a method using only an actor’s bio-physiology. This is the acting technique for the 21st century – it would have amazed even Stanislavsky!”
– Peter McAllister
Royal Central School of Speech and Drama