Personal statement

Parke Fech is Senior Lecturer in Movement within 黑料正能量’s School of Music and Performing Arts. His teaching and leadership are centred on actor training, movement pedagogy, embodied performance, intimacy practice, and the relationship between creative process, assessment and inclusive curriculum design.

Within the University, they contribute to undergraduate acting provision across practical studio modules, performance projects, reflective practice, and professional preparation. His responsibilities include designing and delivering movement training, supporting students’ development as reflective and independent practitioners, contributing to module and programme development, and working with colleagues to strengthen assessment design, student experience and curriculum coherence.

Parke’s specialist practice includes movement for actors, intimacy direction, ensemble training, devised performance, physical dramaturgy and consent-based approaches to rehearsal and pedagogy. His teaching draws on a broad range of performer training practices, including Laban/Bartenieff, Lecoq, Viewpoints, Suzuki, Rasaboxes, Michael Chekhov, yoga and functional movement. They are particularly interested in how performers develop responsiveness, attention, embodied agency, and collaborative decision-making under conditions of creative uncertainty.

His research interests focus on consent-based pedagogy, neuroinclusive actor training, trauma-informed movement practice, power dynamics in the rehearsal and classroom environment, the role of emerging technologies such as VR, AR, XR and motion capture in performer training. Across their teaching, leadership, and research activity, Parke is committed to developing ethical, rigorous, and inclusive approaches to actor training that prepare students for contemporary performance practice.

Academic qualifications

  • MFA (Distinction) Actor Training and Coaching- Royal Central School of Speech and Drama
  • MFA (Distinction) Acting - University of Houston Professional Actor Training Program
  • BA (Hons) Musical Theatre - Colorado Mesa University 
  • BA Psychology - Colorado Mesa University
  • 200-hour Registered Yoga Teacher - Yoga Alliance
  • Extensive Training in Intimacy Direction and Coordination through (IDC, TIE, ESP) since 2013.

Professional memberships

  • FHEA
  • Equity UK
  • BECTU
  • Actor's Equity Association (AEA)
  • SAG-AFTRA
  • Society of American Fight Directors
  • Yoga Alliance.

Other external roles

Parke maintains an active external profile as a performer trainer, movement specialist, intimacy practitioner and theatre-maker. His external practice includes work connected to movement direction, intimacy direction, performer training, facilitation, and creative practice in professional and educational contexts.

They are particularly interested in building partnerships that connect actor training, embodied pedagogy, consent-based rehearsal practice and public-facing creative work. His external activity supports the exchange of knowledge between higher education, the performing arts sector, and wider communities interested in performance, movement, wellbeing and inclusive practice.

Subjects taught

  • Movement for actors and performers
  • Actor training and embodied performance practice
  • Ensemble practice and theatre-making
  • Devised performance and physical dramaturgy
  • Laban/Bartenieff, Lecoq, Viewpoints, Suzuki, Rasaboxes, and Michael Chekhov technique
  • Yoga, functional movement, breath, attention, and self-regulation for performers
  • Intimacy practice, consent-based rehearsal processes, and ethical performance-making
  • Reflective practice, professional preparation, and practice-based research.

Current and potential areas of research supervision

  • PhD supervision in Art, Media and Film, particularly projects focused on embodied practice, performer training, movement pedagogy, and practice-as-research
  • Embodied practice, embodied knowledge, and somatic approaches to performance
  • Movement pedagogy and actor training methodologies
  • Consent-based pedagogy, intimacy direction, and ethical rehearsal practice
  • Neuroinclusive, trauma-informed, and accessible approaches to performer training
  • Power dynamics in the rehearsal room, studio classroom, and performer training environment
  • Devised performance, ensemble composition, and physical theatre
  • Performer wellbeing, attention, responsiveness, and creative decision-making
  • Intermedial performance, digital identity, and the use of VR, AR, XR, motion capture, and digital technologies in performer training
  • Reflective practice and practice-based research in performance, theatre-making, and screen/media contexts.