Copenhagen Acting School
Students
1st year - 2025-2028
Amanda Gram
Nina Rita Pape Johannessen
Clara Bruun
Ditlev Døcker Husum
Kathrine Danvill
Nanna Millard (2025-2026)
You can see all the team's performances here.
2nd year - 2024-2027
Abtin Sadeghi
Idasofie S. Engdahl
Lova Müller Rudolph
Maja Vendler (2024-2025)
Mathias Fisker Olesen (2024-2026)
Christian Okholm Nielsen (2024-2025)
Vår Helland Dekko (2024-2025)
Rasmus Bjørn Jensen (2024-2026)
Soraya Jassemian-Riahi (2024-2025)
Robin Amdisen Milkær (2024-2025)
You can see all the team's performances here.
3rd year - 2023-2026
Alex Clemmensen-Nielsen
Sasan Askari
Lucas Amore
Matilde Radoor Ahnfeldt-Mollerup
Anne Marqvar Engelhardt (2023-24)
Esme Emma Sutcu (2023-25)
Emma Vegge Knuckel Andersen (2023-2024)
Nina Karina Abri Lauridsen (2023-2024)
Sabrine Madeleine Pedersen (2023-2024)
You can see all the team's performances here.
The International Acting Program
Flaviu-Nicolae Popescu
Leon Ruschemeier
Karoline Hottenroth
Rosio Sanchez
Karoline Kofod Koch
Sophia Steenholdt
Kathrine Sollien
Teo Tomczuk
A fixed point in the 3rd year is that the students produce a solo performance or film. Several of these performances have subsequently been taken up by Folketeatret and Filuren in Aarhus, among others, and have played under their auspices.
A strong actor network
Here you can see a selection of teachers and former students at Copenhagen Acting School.
We collaborate with casting agencies, theaters and prominent production companies who find their new talents with us.
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How a Thursday morning changed everything
Read what actor, screenwriter and founder of Copenhagen Acting School Carsten Kressner tells
From New York to Ophelia to Copenhagen Acting School
By Rector Carsten Kressner
One Thursday morning in the summer of 1994, I attended a course with the American acting coach Carol Rosenfeld from HB Studio in New York. Two colleagues were working on a scene from 'Mourning Becomes Electra' by Eugene O'Neill.
Until then, the course hadn't produced anything exceptional, but this morning the stage suddenly opened up. The two women playing Lavinia (Elektra) and her mother Christine melted into the text and the situation. Suddenly it wasn't acting that was happening, but life unfolding. Naturally, effortlessly, as if a peephole had been established into the place where life arises and is lived without interference from spectators, actors or directors.
This experience was seminal and led to a quest to explore and realize this vision.
Is it possible to create plays on Danish soil that possess this quality, I wondered?
This led to study trips to New York and research into Meisner technique, method acting and a wide range of other methods developed in American actor training over the last hundred years.
And these discoveries have been processed, applied, reused and adapted to the Danish reality.
A natural step at that time was to establish a school that concentrated on this task. Thus, Ophelia Acting School was born, which has since changed its name to Copenhagen Acting School.
Since 2001, what began as a training ground has evolved into a full-fledged 3-year program that delivers well-rounded professional actors to the Danish film, TV and theater industry.
Along the way, I've seen many examples of how it's possible to make this vision a reality. First in glimpses here and there, over and over again. And later in longer passages and, in rare cases, entire performances.
But we still need to move on. Towards more eminent actors who can live an artless life on stage and in front of the camera. A life that can hopefully bring audiences back to the theaters and experience the unique encounter with live actors and a real life in imaginary circumstances that they can mirror themselves in.
And it's time for the next step: training world-class actors and performers.
Contact Rector Carsten Kressner
