Biography

 
 

Dr. Lazlo Ilya Pearlman is a creator, performer, director, lecturer and teacher whose work is often but not always generated by his FTM transgender experience.

Lazlo has been making performances since he was a ten 10 year old girl, first inspired by an obsession with black and white musicals, comedies and film noir. He has made his way through and returned to many performance forms including physical theatre, performance art, installations, cabaret, burlesque, vaudeville, fetish shows, camp/parody, clowning, film/video and the occasional piece of "straight" theatre.

Lazlo holds a PhD in Drama and Performance practice and philosophy, an MFA in Physical Theatre, has created four one person shows, dozens of short solo works, written and directed short films, and has collaborated with and directed many other performing artists. He has taught his workshops and given lectures in the US, Canada, France, Italy, Germany and the United Kingdom. Performance projects include Dance Me to the End of Love, a work exploring love, exposure, the trans body, intimacy, vulnerability and partnering via the strip, dance, performance art and audience participation; and the feature length documentary on his work Fake Orgasm  (Directed by Jo Sol and produced by Zip Films and Executive Produced by Killer Films and Christine Vachon), which has toured festivals and conferences worldwide since 2011. His short film Unhung Heroes the first comedy about not having a dick, is available through Frameline Distribution and is viewable online (see the Unhung Heroes tab the Film submenu). He is currently a Senior Lecturer and the Program Leader for Drama programs at Northumbria University in Newcastle upon Tyne. His teaching at Northumbria University focusses on Contemporary Theatre making practice and philosophy, actor training techniques, devising and physical theatre, cabaret and performance art, cultural and performance studies. He is conducting ongoing research on actor-performer training for trans, gender nonconforming and queer populations, and on "what our trans bodies onstage can do when we do not describe or explain trans identity".