About Kaya Vision
Kaya Vision is a Black/Mixed, queer actor and teaching artist from Baltimore, Maryland, now based in Los Angeles.
A performer since the age of three, Kaya has spent more than fifteen years working professionally in Baltimore, developing and performing new works, collaborating with artists, and building a practice rooted in curiosity, discipline, and a deep belief in the power of live performance. Kaya's work has taken them from devised theatre, solo shows and Shakespeare to contemporary plays, film, and television, always with the same desire: to tell stories that make people feel seen, see something differently, or give people a voice.
Kaya is a graduate of Baltimore School for the Arts and holds a BFA from Towson University. He is currently continuing his upper education in actor training at the Stella Adler Art of Acting Studio in Los Angeles.
A life in the theatre
Kaya’s theatrical experience began early, but his artistic life has been shaped just as much by collaboration as by performance.
He has worked extensively in devised and movement theatre, creating new work with ensembles and artists in Baltimore.
His credits include The Lights Went Out Because of A Problem, Putin on Ice, and The Institute for Counterfeit Memory with ACME Corporation, a production that received a glowing review in The New York Times.
His work has also included Shakespeare, contemporary theatre, and solo performance. He has performed in Henry IV, Parts 1 & 2, appeared as Dickie in The Fox on the Fairway at the Art of Acting Studio, and developed a solo performance piece exploring the life and identity of The Artist Formerly Known As Prince.
For Kaya, theatre is not simply about delivering a performance. It is about the work that happens before the audience arrives: the questions, the discoveries, the relationships, and the willingness to keep looking.
Teaching & Mentorship
Teaching has always been part of Kaya’s artistic life.
As a teaching artist and former Voice and Movement Teacher at Baltimore School for the Arts, he has worked with young performers to develop their confidence, physical awareness, vocal presence, and understanding of the actor’s craft utililizing techniques such as Linklater, Laban, Modern Dance, Lucid Body, Aerial dance, Fitzmauritz, Lessac, Stanislavski, and Alexander.
Kaya believes that training should make artists more curious, not less; more disciplined, not more restricted. His approach is rooted in the idea that technique is a tool for freedom, and that every artist has something worth discovering.
Teaching also continues to shape his own work. The process of helping another performer find clarity, confidence, or a new way into a scene is a constant reminder that acting is a practice of listening, generosity, and discovery.
Film & Television
Kaya is expanding his work in film and television, bringing the same commitment to character, specificity, and truthful human behavior that has guided his theatrical practice.
His training and experience have given him a strong foundation in text, physicality, voice, and ensemble work. He approaches each role as an opportunity to investigate a person’s circumstances, contradictions, and desires—not simply to demonstrate a skill.
Whether working onstage or in front of a camera, Kaya is interested in performances that are alive, grounded, and connected to something real.
Hospitality, leadership, and consulting
The Work Ahead
Kaya is interested in work that challenges him, expands his understanding of the world, and creates meaningful connections with audiences and collaborators. He continues to develop as an actor, theatre artist, teacher, and creative leader, bringing the lessons of each discipline into the others. At the center of it all is the same commitment that has guided him since he first stepped onstage: to keep learning, keep creating, and keep showing up for the work.
Theatre. Film. Teaching. Hospitality. Consulting. Different disciplines, one artist.