Gina Tay Limpus

Actor, director, and theatre-maker, GINA TAY LIMPUS (she/her), has spent the past decade investigating physical performance methodologies. Her work examines the body within contexts of suburban ritual and secular theology, exploring the capacities of the theatrical body to engage audiences politically, emotionally and socially. Through rigorous physical and collaborative processes, she creates theatre with intentions of challenging systems of belief and establishing community bound by shared ritual.

Since graduating a BFA (Drama; QUT) in 2017 and an MPP (Performing Arts; USC) in 2018, Gina has developed an independent practice rooted in physical methodologies, particularly The Suzuki Method of Actor Training and Anne Bogart’s Viewpoints. Her practice is further informed by Butōh, The Andante Method, Contemporary Dance, Feldenkrais and Harness Aerials. After training extensively with Zen Zen Zo Physical Theatre for ten years throughout her time as Associate Director/Core Company Member (2014-2024), and with The Suzuki Company of Toga (Japan) for their Summer Training Program in 2023/24, Gina is now developing a hybrid methodology integrating The Suzuki Method with ensemble requirements for contemporary Australian casts and the performances we aim to create.

In 2019, Gina received The Matilda Award’s Best Emerging Artist and Best Independent Production for performance and devising work as part of Zen Zen Zo’s The Tempest (Zen Zen Zo Phsyical Theatre) and La Silhouette (The SUI Ensemble). Since 2016, she has performed in over 45 Australian and International productions across the span of physical theatre, contemporary theatre, immersive theatre, clowning, and dance theatre. Her credits include work with Zen Zen Zo, Broad Encounters, Curtain World, Kin, Dead Puppet Society, Younes Bacchir, Joey Ruigrok, Strings Attached, Dan Evans, The Good Room, The SUI Ensemble, Spacefold Technology, Dairkakudakan and others. 

As Core Performer/Associate Director with Zen Zen Zo (2015-2024), Gina performed in 20+ productions and directed works including SKELTER (2023), The Unbearable Lightness of Dreaming (Co-Dir.; 2023), REBIRTH (2022), BE ALL//END ALL (2021), Queendom Animalia (2021), The Unspeakable Dreams of Salvador Dalí (AD; 2019) and  Zen Zen Zo’s The Tempest (AD; 2019). Gina’s independent directing credits include Tangerine Hour (2021) and Be Our Witness (2019) with NDRNCE, and a solo work-in-development, All Bodies, Just One Body.

Gina has taught body-centred performance methodologies in universities, schools and private acting institutions for over 10 years. Her pedagogy is particularly informed by The Suzuki Method of Actor Training, Viewpoints and methods of collaborative creation.