Gennadiy received his initial education in Fine Arts. After graduation, he began his career in theatre, starting as a stage designer and progressing to a movement director.

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He has led various creative projects in the performing arts across Ukraine and Russia. As part of IUGTE, he participated in several international multidisciplinary projects in Austria, Germany, Italy, Slovenia, Latvia, and Malta.

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Gennadiy has served as a movement director in numerous international performance productions in Russia and Ukraine. For example, in the International Shakespeare Performance Project, he worked on the movement for the performance "Passions of Romeo" with actors from Greece, Ireland, Mexico, Russia, Spain, Switzerland, the UK, and the USA.

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In another production of the International Shakespeare Performance Project, he assisted the director in the performance "Rehearsing Richard," based on Shakespeare's "Richard III," which premiered at the Lugansk Russian Drama Theatre in Ukraine.

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He was also the stage designer and movement instructor for the performance "Lullaby for Hamlet," created as part of an international collaboration between the Stavropol Academic Drama Theatre, "ArtUniverse" Agency, and "IUGTE."

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In 2015, Gennadiy was invited to take part in a major project between the Saratov Kiselev Youth Theatre, IUGTE, and ArtUniverse as the movement director for the production "Love and Death in Verona," based on Shakespeare's "Romeo and Juliet."

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Gennadiy Ostrenko's passion for movement led him to design a new program for performers called "Theatre Biomechanics." This program is primarily based on Vsevolod Meyerhold’s research on performer training techniques. Gennadiy’s program incorporates elements of classical Meyerhold biomechanics, combined with contemporary methods of performer preparation.

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Another important aspect of Gennadiy's teaching approach is improvisation. Improvisation is crucial in actor training as it involves not only bodywork but also the use of imagination and imagery. His research into improvisation led him to a deeper study of M. Chekhov’s technique, as well as the study of animal movement.

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Gennadiy says: “My professional interest lies in researching training based on animal dance and improvisation, as it involves constant work with your body, exploring new physical possibilities, and partnering. At some point, your intellectual mind switches off, and you start to understand everything without words. After several years of practicing contact improvisation, I discovered that just one touch from your partner can reveal the entire history of their life, filled with emotional content. The most important aspect of performance practice for me is working with partners, feeling and communicating with them, even without words. Words cannot convey information about you, your life, and your emotions as effectively as dance can. This is what I am passionate about.”

Ostrenko Method

The Ostrenkos' approach is a systematic method for creating performances that generates innovative productions by utilizing concepts, ideas, and existing play-texts. It introduces effective techniques and approaches to contemporary performance practice, particularly in the context of short rehearsal times and the multicultural nature of the creative team.

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The Ostrenko Brothers' method can also be described as a valid combination of historical pedagogy and theatrical practice. It is a highly practical approach to the performance-making process, from both the performers' and directors' perspectives. The Ostrenkos' method draws on the concepts, ideas, and discoveries of K. Stanislavski, Vsevolod Meyerhold, and Mikhail Chekhov, the principles of physics, the theatrical experiments of Jerzy Grotowski and Eugenio Barba, the educational philosophy of Tadashi Suzuki, and the martial arts experience of Tai Chi Chen style.

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The Ostrenkos' method emphasizes the performer’s physicality and physical action. The key to unlocking an actor’s creative nature lies in the body. Through physical actions, actors discover form, emotional expression, and depth of feeling. The actor’s relationship with artistic space, along with their freedom in improvisation and spontaneity, plays a crucial role in the creative process. As a result, the intangible becomes tangible, with atmosphere and style emerging inseparably from this creative process.

Gennadiy has taught at many institutions, choreographed movement for dozens of performances, and created extraordinary scenic designs and costumes. He has students and followers in various countries.

Movement

Gennadiy also began his theatre career as a stage designer. He has worked on stage design, costume design, and visual concepts for performances in professional theatres in Russia and Ukraine.

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Since the 1980s, he has developed an interest in various movement techniques for performers. He dedicated several years to studying the Tai Chi Chen style, which has now become a part of his daily training. This practice, along with his exposure to traditional performing arts such as Chinese Opera, Noh theatre, Butoh, and Commedia dell'arte, led him to explore Meyerhold's Biomechanics, which has significantly influenced his work.