Ella Mettänen describes her appointment as theatre arts lecturer as a homecoming

Ella Mettänen, you have broad experience as an actor, leader of artist collectives, writer and performer. What motivated you to apply for a lectureship in theatre arts?

“I have a strong connection with Näty and am proud to be an alumna of this programme. I would not have applied for a lectureship at the Theatre Academy in Helsinki, for instance, because my passion lies in teaching theatre arts specifically within Näty. I am deeply committed to its teaching, legacy and the development of its educational practices. I have been fortunate to gain extensive and diverse work experience since my graduation in 2016. For a long time, I have known that I want to practice my profession in various ways, not only through acting. This kind of companionship with young people who are on their way towards a professional acting career gives me a profound sense of purpose, which is something I cherish in both my career and daily life.”

Is there a specific project or phase in your career that has especially influenced your relationship with acting or its teaching?

“There are many. The fact that my own university days are still fresh in my mind helps to conceptualise my vision of teaching and the development of teaching as a whole. The decade or so since my graduation has also provided me with an in-depth understanding of the opportunities that are available and the expertise that actors are expected to possess. While our duty is to equip students with the skills to pursue diverse career opportunities, we must also train actors who can not only adapt to the current professional landscape but also reshape it. The education we provide should empower students to discover their own sense of agency, articulate the art of acting they wish to perpetuate and create, and build their professional identity.”

Näty has a long-standing tradition of staging productions in foreign languages. Your class performed Maria Jotuni’s play The Hen-pecked Husband’s Wife in Chinese and even took it to Guangzhou, China. What are your most memorable experiences from that time?

“There are so many that is difficult to choose which to mention here. Perhaps my most memorable experience was seeing how clearly cultural differences become apparent during the performance. The audience of 1,200 Chinese people was very vocal and expressive in showing their enthusiasm, joy and even shock. I particularly remember their disapproval of certain details of the performance – or at least that is how we interpreted their reactions. For example, in one scene I was flipped upside down, held by my ankles, and my skirt fell down, revealing my legs. The stir that went through the audience could hardly be interpreted as anything other than disapproval.

Foreign-language productions are a significant part of Näty’s legacy and a tradition that I am proud to uphold. I believe that acting in a foreign language adds a holistic physicality to the interpretation of a role that continues to shape the type of actor I am today.”

What themes do you consider most important in contemporary actor training? How do you plan to incorporate these themes into your teaching?

“The importance of art and artists is being challenged in our society, even at the governmental level, which I find appalling. I want to do my part to train actors who are aware of and able to articulate their important role as mirrors and observers or society and as shapers of reality. In terms of teaching, this means witnessing, reinforcing and celebrating the uniqueness of each student from the very beginning. I also believe that actors who enjoy their work – love it, even – are more active and better able to discover their own unique voice. The importance of professional happiness should not be underestimated. My job as a teacher is to ensure my students experience joy and success during their studies. That is the only way for them to find the courage to make the necessary leap into uncharted and daunting territories. This venture into the unknown helps them to create and discover new forms of art.”

How do you expect the role of theatre and acting to evolve in the future, especially amidst all the technological and societal changes that are going on? Will future actors need to cultivate entirely new skills?

“I must admit that the technology question holds little interest for me, both personally and professionally. However, Näty has made excellent progress in utilising technology in both research and teaching for a long time now. I am sure technological skills will be in demand, along with new innovations that combine the art of the acting and technology, even though this word evokes negative connotations for me. It would be irresponsible to ignore technological advancements in the context of education. Still, I am convinced there will always be a demand for the presence of live performers and the unique experiential quality they bring to the stage. No other art form can replicate the experience offered by dramatic arts.”

What new initiatives or new teaching development projects would you be interested in launching? 

“From a research perspective, it would be fascinating to gather data on the optimal methods for training actors. Over the decades, the teaching of acting in Finland has often been influenced by the personal interests, beliefs and areas of expertise of individual teachers, along with their pedagogical instincts or even arbitrary assumptions. How can we effectively educate “good” actors in the right way, whatever that means? For me, this means nurturing diverse, courageous and spontaneous professionals with a strong voice of their own. What type of learning environment and pedagogical approach would best support the training of such actors?”

How would you like to strengthen Näty’s connections to the broader theatre community in Finland and beyond?

“Näty is already very well connected. While my international connections are somewhat limited, I have an extensive network in Finland, which I am eager to leverage to help my students build connections and enter the professional world. I plan to take steps to encourage more potential employers and directors to attend our students’ public performances. Tampere is conveniently located, being not that far from places where the art of acting in practised even on a slightly larger scale. Employers should be extremely interested in the talented actors graduating from Finland. This should be a high priority, and time should be invested in it. Who knows, maybe these young people might even teach us something.”

Having recently completed a role in a major production of Lord of the Rings, what projects are you planning to participate in next?

“It seems that 2025 is a year of monologues for me, as I will be performing three of them this year. I completed one radio monologue earlier this year for Yle, but I do not yet know when it will be released. The second is the Tampere Philharmonic Orchestra’s concert for the whole family, celebrating 80 years of Moomins, coming up in early March 2025. The story is accompanied by Minna Leinonen’s captivating music, with Meri-Maija Näykki as director, me as the narrator and the Tampere Philharmonic Orchestra playing live.

Unfortunately, my most high-profile production this year is yet to be publicised, but I can safely say that it is also a monologue with an opening night in 2025 and several performances lined up in cities such as Helsinki, Tampere and Lahti in 2025 and 2026, with hopefully even more to follow. The director is brilliant, as is the author and the text. I wish I could tell you more.”

I am committed to training actors who know their own worth, recognise the importance of their profession and are able to justify, both to themselves and others, why the world needs their art.

Näty – Degree Programme in Theatre Arts