Hey! Are there any British actors frequenting this lounge? I'm so ronery here in England. Lol. Let's play...
About Me: Grace Duah is a versatile creative force in the entertainment industry, excelling as an actor, writer, and producer over the past four years. After graduating from Pace University's Acting for Film,Television, Voiceover and Commercial program in May of 2020 Grace made her TV debut playing the Series Regular role of Shan Barnes on the MAX (formerly known as HBOMax) hit series reboot GOSSIP GIRL (2021). Upcoming projects include short films Meal Ticket and The Off-Brands both set to premiere at this year's Tribeca Film Festival. Examples of Questions: How did you get your start as an actor? What is the most challenging part of being a full time working actor? How do you keep a clear head in the face of frequent rejection? Looking forward to answering everyone's questions and hopefully provide an in-depth perspective on helpful ways to navigate the acting industry!
Getting a callback means that the casting team is intrigued by you and your acting, but they may not be totally sold yet. On top of watching you perform, they might also question you about your acting approach and experience. This is the time to showcase your range, ability to portray your character, and overall skill set. Expect to perform the same material in the same way as in your first audition—but know that you might be asked to make a few changes, such as reading a scene with different emotion or really diving deep into your character’s personality.Callbacks often mean performing a scene with another actor so the director can see if you mesh well with others.The casting director brought you back because your type and performance worked for the character and for the tone of the show. Unless you are given specific notes for the callback, do the exact same performance when you come back in but be open to adjustments.Don’t get locked into your choices. In a callback, the director, producer, and creative team may have you take an adjustment and try the scene a different way. Spontaneous decisions are your best friend so practice various versions of the audition just to be prepared.#actor #audition #callback #casting #film #tv
Hey All,Don't miss out on today's 24-Hour Ask Me Anything happening from Friday 3/15 to Saturday 3/16 over in the Stage 32 Writer's Room Lounge! Catherine Slaughter-King, Scripted Development Executive, Producer (A PODCAST TO DIE FOR, DEADLY SURROGACY), & Stage 32 Executive will be answering people's questions about "Developing Character-Driven Stories".You can comment your questions NOW!https://www.stage32.com/lounge/vip/Ask-Me-Anything-AMA-Friday-3-15-to-Saturday-3-16-Developing-Character-Driven-StoriesIt's a great opportunity to learn more about how to create memorable & distinct characters who can carry an entire film or TV series, creating a balance between character and story, the difference between a memorable supporting character and a memorable protagonist, how the development process differs for a character-driven story compared to a more story-beats-led project, etc. Don't miss out on a chance to ask a question!If you're not already a Stage 32 Writer's Room member, you can sign up for your first month entirely free so that you can join in on these opportunities. https://www.stage32.com/writers-room/plans-vip
Hey there ! I will be in Lille / France for Série Mania from the 19th to the 22nd of March if anyone is around get in touch ! sabine.crossen@yahoo.frhttps://seriesmania.com/en/https://www.imdb.com/name/nm1644336/
- Don’t overdo your makeup. You want to look like yourself on your best day and not look like you tried too hard. Be yourself. Do your hair the way you would for every audition.- Don’t go quirky with clothing and props. Let’s not get nuts here. Keep it simple and classy, and follow the standard format. Professionalism gets you noticed. A simple, solid shirt with a little texture that fits you well and matches your eyes should do the trick. No whites and no graphics or anything that might distract from your face, and no props.- Consider natural light vs. studio.Some photographers do both, as they offer a different look and feel. Natural light gives a very real look. Studio lighting tends to be a little more polished, with a more neutral backdrop. If you are more of a sitcom actor, perhaps a well-lit studio headshot is best for you. If you want to look like you are on the Fargo series go for the outdoor look.- Pay attention to framing, lighting, and background. Generally a good headshot is chest-up with good lighting on your face, and no strong dramatic shadows.- Choose personality over glamour. Make sure it looks like you with easy airbrushing. Casting directors expect you to look just like your headshot and will not be happy when you show up looking totally different or 10 years older. It’s not about looking pretty, it’s about representing your type, wrinkles included.- Go pro. Spend money—it’s worth it. Go to a professional who is trained, understands lighting, and takes headshots for a living, not a friend who happens to have a decent camera who has a hobby of taking photos. Save those pics for Instagram and leave the headshots to the pros. #actor #headshot
Hey, All!In today's blog, we're welcoming our incredible new Stage 32 Executive Liaison, Nick Phillips! Nick is a talented producer with years of industry experience and we're so excited that he's bringing all of his hard-earned knowledge to our community! Be sure to check it out and leave your own warm welcome for him in the comments! https://www.stage32.com/blog/meet-stage-32s-new-executive-liaison-nick-phillips-3669
Is Networking At An Acting Event Hard? Try this.https://youtu.be/QMwFiPvOLww Have any suggestions on having success at networking events? Share them here.
If you have a challenge memorizing your lines there are several ways that you can choose to get help. There are books on memorization techniques of course (Memorization for Actors by Alexa Ispas) but technology has now given us the App. There are a few choices depending on your preference (and budget) but one of the top is the LineLearner App (3.99) which is similar to the standard method many actors use (recording their lines into their phone and playing them back). Some of its features:You can upload the PDF or Word document of the script and it will track where you are as you perform your lines.It allows you to listen to your recorded lines over and over again.If you forget your next line, you can tap the “Prompt” button at any time to remind yourself.Top Reviews:“There’s a small learning curve, but watching the video tutorials helps through that part. Entering in my lines was easy - I loaded up the entire play in about 2 hours - and once that’s done, you have so much power. it’s like they thought of every possible adjustment to assist you through every single stage of memorization.”“This app has everything I need to memorize lines quickly by listening. I love how easy it is to record the script and how I can change pitches to distinguish my lines from other characters. I use it for every project I’m in and it’s very worth the price, especially since it’s just a flat fee with no subscriptions or ads involved. It’s just a simple tool that works if you memorize by listening. I can now run lines acting everywhere I go without seeming like a total nut talking to myself.”It’s great to have a variety of ways to help if memorization is a problem for you, so do your research and take advantage. It’s important and is a huge part of how you can become better skilled as an actor without the added stress of not remembering your lines.#actor #lines #script #memorization
I have some great inspiring news for you guys! Recently I had a callback for a guest star role in a t.v. series and ended up booking the role! To all my fellow actors out there, KEEP GOING! In this industry you never know when your next job is but if you keep going you'll eventually cross paths with the roles that are meant for you.
I thought she was excellent. The awards went pretty much as expected. I think that was the biggest shock from last night’s Oscars and I’m here for it. What did you guys think of the new format with the ex Oscar winners presenting the nominees?
As an actor you MUST be well balanced as those who came before you.
HOW TO MAKE MONEY AND CREATE WITHOUT SAYING ANYTHING!!CAN YOU DO THIS?
From time to time you'll need to explore other languages and accents if you want to be as skilled as your competition as an actor. Accents are crucial when creating the illusion you actually speak another way than you do right now. Study and surround yourself with the accent. Immerse yourself in films, TV shows, social media videos, radio, podcasts, and anything you can to truly get a feel for each accent. The online International Dialects of English archive can be a great resource to delve into accents, their sounds, and nuances that you'll need to master for credibility.Practice and repeat. The more time you take practicing accents, the better you’ll be. Practice daily to make an unfamiliar accent feel instinctive—and don’t be afraid to work with a vocal or dialect coach.#actor #accent #dialect #vocal #coach
A story one woman's triumph and healing. Adapted from the memoir and feature film.
https://www.stage32.com/meetups/1963/March-Stage-32-Phoenix-In-Person-Meetup
https://variety.com/2024/film/news/daniel-day-lewis-retired-acting-says-hes-done-1235929631/
Hey, All!Our tireless @Stage32 Education Team has been hard at work to bring in some incredible education opportunities for March! In today's blog, read all about the exclusive webinars, classes, and labs currently available to Stage 32 members.https://www.stage32.com/blog/stage-32s-march-2024-education-schedule-3654
Beware of This Horribly Disgusting Acting Scam https://youtu.be/3St-9aLzy98 Have you ever experienced a scam? Without sharing names, please let us know how the scam worked. Your information will help a lot of fellow actors.
Today the guest star of a network series, and the widow of one of America's most beloved comedians, made sexual advances toward me between camera takes. It began after I started up a conversation because we're from the same east coast city. At first I thought she was just being silly, but it became more aggressive. I suddenly shutdown. I'm a member of the LGBTQ tribe, so I kept thinking that maybe I did something to make her think I was somehow interested, but clearly she was being a predatory. It made me realize that as a gay man that I can be harassed by heterosexual women who are clearly in a power position. As soon as I wrapped, I jumped in my Jeep and got out of dodge.
- Using lines as an excuse- “When I know the lines I’ll be able to perform the scene better” - this is an excuse to cover up many things, mainly inhibitions, the fear of trying something or not knowing what to do because you haven’t read the scene/script enough. As Lee Strasberg (The Method guru) once said, learning lines is about memory and acting has nothing to do with memory. My advice is to play and experiment with the scene. You can only do this by reading it and making justified choices. Find a suitable way of training your memory to learn lines effectively because that’s not the job of your acting coach.- Not reading the script enough - AKA lazy acting. Some actors go through the script, but only to learn their lines. You need to know the full story, not just the story of the scene your character appears in or only the story of your character. To get the full picture you must read the entire script (more than once). Depending on your character and the size of your role this may not be possible because casting isn’t allowed to send you the full script, but if they can this is the best scenario of course.Here are some things to think about when reading the full script: Why does your character choose those specific words? What do they really mean? What is really going on? What has led them to where they are now? In the early stages of character development you’re like a detective; you have to piece the full picture together to be able to connect to the character, then you have to figure out what the motive behind the character’s behavior is so you can make clear choices in each scene you appear in.- Forcing emotions/trying too hard - this is usually done to impress, and there is logic in that, but acting should feel effortless. When you try too hard or try to force something, it looks fake, feels strange and just doesn’t make the thing you’re trying to make happen appear. The same happens with emotions. Find inner purpose for what your character is going through and demonstrate through gestures and expressions.#actor #tv #film #script #casting
Hello screenwriters. I'm looking for a script consultant to provide feedback on a fantasy/coming-of-age feature script I'm developing. If you have any recommendations, please let me know - they'd much be appreciated.
I need a caucasian lady in her 50s to play a role of a retiree in my upcoming short film. Distance is not a barrier.
“Is it unrealistic to get a manager before I have an agent?”Not unrealistic at all! Every actor is different and in a different stage of his or her career. If you find yourself without an agent, that doesn’t mean you are new to the business. For several reasons, any actor can find themselves without an agent during their career: a falling-out, a direction change, a location change, even the I’m-taking-a-break-from-acting scenario.It is totally fine to seek a manager even if you don’t have an agent. That said, you must have realistic expectations of having a manager versus an agent before acquiring your first (or next agent.Managers will advise you on your career and image related to photos, social media, website, and general day-to-day planning and strategy to help you gain your foothold in the industry.Agents are the ones who gather casting opportunities and negotiate the deals and contracts on your behalf.A good manager can help you get an agent so your career is a team effort and you feel the most productive in pursuing all of what you want to accomplish in your career as an actor.For new actors, it may even be a better fit to start with a manager instead of an agent to get a sense of what you want in an agent and what your goals are.A manager will assess your current skill set and encourage you to add certain elements to your list of skills so that you’re better equipped to be cast in more roles. They can advise you on various workshops or coaches, adding more dialects to your résumé, and stepping outside your comfort zone by being more well-rounded in areas you’re currently lacking. More often than not, having a manager can assist with your perspective of the business and give you a realistic vision based on where your aspirations are with your career, so it’s totally your call.#actor #tv #film #video #script #writer #drama #manager #agent #casting #director #success #hollywood
Hey, Performers!For 13 years, Stage 32 has been bringing relevant, actionable, and timely education to creatives around the world. We've even been called “The Netflix of the global entertainment industry.” But that doesn’t mean we’re done. Learn more in today's blog!https://www.stage32.com/blog/stage-32-education-the-netflix-of-the-global-entertainment-industry-just-got-better-see-for-yourself-3656
Hey friends, today is the Super Early Bird Deadline for the 9th Annual Stage 32 Short Film Contest! For the 9th straight year, Stage 32 is looking for the best short films you've got! Over the last 8 years, Stage 32 has screened its winning filmmakers’ films at some of the most prestigious festivals around the world, and for Stage 32’s stable of 1,000+ Stage 32 executives, and this year will be no different.https://www.stage32.com/contests/9th-Annual-Stage-32-Short-Film-Contest
Hello everyone it's been a few days since i haven't been here although i am a writer, i can't find good actors or actresses in my region, if you are interested let me know and i hope you have a good weekend, my goal is to get into acting school and take lessons in screenwriting thomas is an animated adult series.
I'm super proud of this one! I had an amazing time chatting with Jess Salgueiro, the talented actress from hit shows such as Frasier on Paramount+, Monarch: Legacy of Monsters, The Boys, and many more.She discusses what it's like playing Eve on Frasier, working on a multi-cam show with a live audience, and playing Barnes on Monarch: Legacy of Monsters. She also shares fantastic advice on acting and the importance of staying true to yourself. I hope you check it out! It's a lot of fun. :)https://youtu.be/2-kAM6l-7QA?si=oAoLW83qIBia4VUN
A slate is not accurately done. A full length head to toe shot is not included, or the various takes of the scene(s) they need are not included. You have one mission when it comes to the self tape auditions - read the instructions at least 5 times to insure you know exactly what to do then do your best performance possible and be off book. This is always the only impression (often the first impression) that casting, producers, and directors have of you. Make sure you know you've done everything you can do to separate yourself from the other actors submitting their tapes for the same role. The peace of mind you have when you are certain you had nothing left to give is priceless.#actor #tv #film #casting #audition #selftape
This Amazing Acting Job Just Crushed Me https://youtu.be/ORJrmbWzSZA Have you ever been really disappointed because of an acting job? If so, share your experience so we can learn from you.
Hi everyone!! Please take a look at my recent blog post about Actor Headshots. I am giving some tips and discussing industry standards to help you improve your portfolio and get those jobs rolling!!https://www.framedduckstudio.com/blog/how-to-headshot
Where: online When: 1 April 2024 - 1 July 2024 2 May 2024 - 2 August 2024 3 June 2024 - 3 September 2024 How to apply: https://www.nipai.org/the-director-and-ensemble-building Fee: €1950 / 3-month The "Ensemble Building Course" offered by the New International Performing Arts Institute (NIPAI) is designed to equip students with the skills necessary to create a cohesive ensemble of performers, even under the constraints of limited rehearsal time. This course is particularly focused on overcoming the challenges of working with unfamiliar performers and aims to develop a welcoming and creative atmosphere. Key aspects of the course include: - Physical Training for Ensemble Building: Students explore the role of physical training in the ensemble-building process. This involves understanding how to use physical actions and movements to foster group dynamics and cohesion. - Playful Techniques with Actors: The course teaches techniques for engaging with actors in a playful and effective manner. This approach helps in creating an environment that is conducive to creativity and collaboration. - Atmosphere, Cohesion, and Group Dynamics: Students learn strategies to build a specific atmosphere within the group, promoting cohesion and effective dynamics among performers. - Practical Relationship Development: A significant focus of the course is on the practical relationship between the director (or choreographer) and the performers, aiming to develop this bond for targeted outcomes. - Comprehensive Learning: The course includes a variety of acting techniques and theories, such as K.Stanislavsky's "Physical Action", Vs.Meyerhold's "Theatre Biomechanics", and M.Chekhov's "Psychological Gesture", along with improvisation and spontaneity skills, and director's communication skills. - Professional Growth and Application: This course is tailored for those already in the field who seek specific knowledge and skills in theatre directing. It emphasizes practical learning and offers a professional approach. - Certification and Application: Upon successful completion, students receive a certificate of completion, which can be a valuable addition to a professional portfolio or resume. The knowledge gained can be applied in various theatre forms like physical theatre, dance theatre, drama theatre, musical theatre, mime theatre, puppetry theatre, and circus on stage. The course is offered in a flexible, online format, making it accessible to students worldwide. It emphasizes practical learning, offering a unique and renowned program for professional growth in the specific field of theatre directing. Official Website: https://www.nipai.org/ Facebook: https://www.facebook.com/nipai.org/ Instagram: https://www.instagram.com/nipai_org/ Email: info@nipai.org
Where: online When: 1 April 2024 - 1 July 2024 2 May 2024 - 2 August 2024 3 July 2024 - 3 September 2024 How to apply: https://www.nipai.org/the-director-and-play-course Fee: €1950 / 3-month The course "The Director and Play" offered by the New International Performing Arts Institute (NIPAI) is a unique educational program designed for drama theatre directors and actors who wish to develop their skills in analyzing plays for stage production. The program stands out as one of the few in the world that focuses on teaching deep, active analysis of plays, providing participants with the necessary tools for effective work with performers. Key elements of the course include: - Play Analysis: Students learn how to dissect and understand the text of a play, considering its historical and theoretical contexts. - Active Analysis: The course emphasizes practical, hands-on approaches to play analysis. Storytelling/Retelling: Participants are encouraged to explore different methods of storytelling and retelling within the context of theatrical production. - Dramatic Structure: Understanding the fundamental elements of dramatic structure is a crucial part of the curriculum. - Character Development: The course covers the basics of story elements such as structure, character, and dialogue, focusing on how to analyze units and objectives to build a character’s through-line. The course objectives are aimed at helping students gain a firm understanding of play analysis, the role of historical context, developing skills through real-life scenarios and case studies, and constructing a relationship between the director, author, and text. The program format is tailored for professional development, with flexible timing and a mix of practical exercises and theoretical readings. It offers a 3-month duration of study, conducted entirely online in English, culminating in a Certificate of Completion for students who successfully complete all tasks and assignments. Upon completion, students will have not only a deeper understanding of theatrical texts but also the practical skills to apply this knowledge in various theatrical genres such as physical theatre, dance theatre, drama theatre, musical theatre, mime theatre, puppetry theatre, and circus on stage. This course is particularly beneficial for those who are already practicing in the field and feel the need for specific, up-to-date knowledge and skills in theatre directing. It's designed to provide professional growth, up-to-date knowledge, first-hand experience, an individual approach, and an emphasis on practical learning. Official Website: https://www.nipai.org/ Facebook: https://www.facebook.com/nipai.org/ Instagram: https://www.instagram.com/nipai_org/ Email: info@nipai.org
Where: online When: 1 April 2024 - 1 July 2024 2 May 2024 - 2 August 2024 3 June 2024 - 3 September 2024 How to apply: https://www.nipai.org/choreography-and-blocking-course Fee: €1950 / 3-month The "Choreography and Blocking in Performance" course offered by the New International Performing Arts Institute (NIPAI) is a specialized program designed to equip directors and choreographers with essential skills and tools for creating compelling mise-en-scene, blocking, composition, and movement direction in their productions. This 3-month, fully online course is targeted towards professional growth in the field of performance-making, focusing on choreography, composition, and blocking as key components. Key aspects of the course include: - Core Topics: The curriculum covers a range of topics essential for performance creation, such as Blocking and Mise-en-Scene, Tempo and Rhythm, Montage, Movement for Actors, Acting for Dancers, Improvisation and Spontaneity, and Composition. - Professional Approach: The course emphasizes a professional approach to performance-making, providing directors and performers with up-to-date knowledge and first-hand experience. It's designed to facilitate learning through practice, ensuring an individual approach and focusing on practical learning. Who Can Benefit: This course is ideal for directors, dancers, choreographers, physical theatre actors, contemporary circus and musical theatre performers, and performance artists. It's also suitable for practitioners from related fields seeking a deeper understanding of movement in contemporary performance. Certification: Upon successful completion, students are awarded a certificate of completion, which can be a valuable addition to their professional portfolio or resume. Application and Study: The program offers flexible timing and is conducted in English. It employs a mix of self-study, virtual classroom, and text-based learning methods. Students receive weekly assignments and tasks for self-study to gradually develop their understanding of the topics and the ability to apply knowledge to their projects. Eligibility: The course is open to international students and professionals with varying levels of experience. The main requirement is a commitment to developing skills in theatre directing and choreography. In summary, the "Choreography and Blocking in Performance" course by NIPAI is a comprehensive program aimed at enhancing the skills of professionals in the performing arts, particularly those involved in directing and choreography. It combines theoretical knowledge with practical assignments, making it a hands-on learning experience for participants from diverse backgrounds in the performing arts. More: https://www.nipai.org/choreography-and-blocking-course Official Website: https://www.nipai.org/ Facebook: https://www.facebook.com/nipai.org/ Instagram: https://www.instagram.com/nipai_org/ Email: info@nipai.org
Where? Offered online or blended with options for in-person sessions in Germany or Austria, enabling global access. When? The next intakes are in April 2024 and September 2024. For Whom? Ideal for individuals aiming to become professional directors, the program is open to students worldwide. The New International Performing Arts Institute (NIPAI) is an educational institution focused on providing practical and hands-on training in various disciplines of the performing arts since 2000. It offers a diverse range of programs, including theatre directing, movement directing, and arts management. These programs are designed to be accessible in multiple formats, catering to a wide array of learning preferences through both online and blended (a combination of online and in-person) educational modalities. NIPAI is notable for its international scope, drawing a varied and multicultural student body from across the globe. This diversity enriches the learning environment and reflects the Institute's commitment to fostering global perspectives in the arts. The emphasis at NIPAI is heavily placed on practical, experiential learning and preparing students for real-world application in their artistic pursuits. The program aims to foster artistic impact, community engagement, commercial success, and personal growth, offering pathways to careers in theatre production, puppetry, classical and contemporary theatre, opera, etc. What Sets Our Programme Apart? - Upon completion, receive a diploma that acknowledges your qualifications as a theatre director, paving the way to professional endeavors. - Benefit from a blend of distance learning with in-class sessions in Germany or Austria, depending on your preference. A fully online learning option is also available, providing flexibility to accommodate your lifestyle and commitments. - During in-class sessions, immerse yourself in a multicultural and international setting, collaborating with artists from across the globe. This exposure enriches your creative process and broadens your professional network. - Our curriculum is built on practical learning. You'll engage in assignments that directly contribute to your growth, ensuring you acquire the skills necessary to succeed. - The program concludes with you directing your own performance, showcasing your skills and vision in a real-world scenario. This final project is not only a test but a significant milestone in your career as a director. Cody Ganger, a graduate of the distance learning course in theatre directing, shared her experience: https://youtu.be/9vIPjFbMnnQ?si=UswRMhECEmPDIe9t For more detailed information about the program, please visit the NIPAI website at: https://www.nipai.org/theatre-directing-diploma For more detailed information about the eligibility criteria, and admission process please visit the NIPAI website at: https://www.nipai.org/admission-process
▪️ How to develop character & work in an ensemble. ▪️ How to use your body as an expressive tool and develop your stage presence. Dates: Monday, 5.08.2024 -Thursday, 8.08.2024 10:30 am - 6:00 pm Friday, 9.08.2024 10:30 am - 3:00 pm* Venue: Breite Str. 43, 13187 Berlin Who is this program for? The program is tailored for performance makers, directors, choreographers, and professionals working with stage performers. It's ideal for both seasoned professionals and newcomers to the field. Performers who are eager to create and direct are also encouraged to join. This in-class session demands dedication and discipline, and welcomes strong, committed professionals and pre-professionals who are ready to engage fully from start to finish. What will you be able to learn? How to develop awareness of your body and its connection to your voice, emotions, and character. How to use your body as an expressive tool and develop your stage presence. How to develop a character and work in an ensemble. In the workshop program: Five days of classes from 10:30 AM to 6:00 PM. The opportunity to receive an international certificate upon completion of the program at NIPAI with Sergei Ostrenko. Support, feedback, and advice from the mentor during the workshop. The program will also introduce the Ostrenko Brothers' Method, a widely recognized approach to performance that generates innovative productions by utilizing concepts, ideas, and existing playtexts. This method offers the tools and support necessary for performers to reach their full potential. The program's working language is English. It is a multidisciplinary, intensive lab that encourages collaboration among performers from various techniques and countries. By emphasizing multidisciplinarity and multiculturalism, it fosters a diverse learning environment. This is a great opportunity for you to expand your knowledge, improve your skills, and connect with other like-minded individuals in the industry. Tuition fee for the 5-day / 35-hour workshop and registration details can be found at https://www.physicalityinacting.com/berlin-august-2024 . Email: info@nipai.org Website: https://www.physicalityinacting.com/ DEVELOP IN WHAT YOU REALLY LIKE
Dates: July 13, 2024 - July 22, 2024 Location: Laubegg Castle, AUSTRIA Who Should Attend: Dancers, Choreographers, Dance Teachers, Actors, Directors of Physical, Drama, and Musical Theatre, Circus Directors, Acting Coaches, Circus Performers, Physical Theatre Artists and Drama Teachers. This program features intensive physical theatre workshops, lectures, and forums with the renowned Ostrenko Brothers, alongside the IUGTE annual International Conference. It brings together performing arts academics and practitioners from around the world. To explore physical acting as your primary creative tool, fill out the application form. OSTRENKO LAB PROGRAM The Ostrenko brothers' approach integrates theory and practice to create innovative performances. It provides performers and directors with a comprehensive understanding of how to develop novel productions or adapt classical material. The method emphasizes hands-on guidance, blending traditional and modern techniques in the study of physical actions. CONFERENCE PROGRAM The conference includes practical workshops, presentations, lectures, and discussions led by performing arts professionals. It offers a full-day program with breaks for meals and between sessions. Registered participants will receive a detailed schedule. The conference's language is English. For more information, visit: https://www.iugte.org/ SCHEDULE - Arrival: July 13 from 13:00. First group meeting at 17:00. - Departure: July 22 at 9:00. - July 13: Group arrival and check-in from 13:00, followed by a short tour and an introductory meeting. - July 14-17: Morning warm-up, practical training with the Ostrenko brothers, and evening activities including lectures and discussions. - July 18: Morning to afternoon practical training, followed by the IUGTE Conference opening in the evening. - July 19-21: Full-day conference program with practical workshops, presentations, and discussions. - July 22: Breakfast followed by check-out and departure. Learn more about the tuition fee for the 10-day program and early bird fees at https://www.physicalityinacting.com/austria-2024-july-conference Contact Details: Email: info@nipai.org Website: https://www.physicalityinacting.com/ DEVELOP IN WHAT YOU REALLY LIKE
New International Performing Arts Institute Dates: 17.05.2024: 10:00 AM - 1:00 PM 18.05-19.05.2024: 10:00 AM - 6:00 PM The international program is designed for performers, directors, choreographers, and performing arts practitioners who are interested in the practical investigation of theatre biomechanics and physical theatre. Focus of the training: What makes performance interesting? How we can be more engaging on stage. Venue: DOCK 11: Kastanienallee 79, Berlin - Germany Who is this program for? This workshop is for all theatre makers and story tellers to come together from different backgrounds (dance, acting, directing, choreographing, circus, clown, mime etc), in order to learn new tools for their professional performance toolkit. You will be able to find answers to these questions: What to do when you have zero inspiration? How to tell a story in a more interesting way? How does a performer enter a stage? How does a performer grab/take focus? How does a performer warm up their body from head to toe? Key Points Performers Will Learn During The Workshop: Stillness, specificity, and awareness of the audience. What is boring/interesting on stage. How to take/give focus to fellow performers. Teacher: Jeremy Vik is a multi-disciplinary performer with 20 years of professional performing experience in acting, circus, and physical theatre. Jeremy believes in blending skill, character, and story-telling together in order to engage, provoke, and entertain audiences all around the world. Participant Requirements: A healthy physique, a creative mind, and a playful spirit :) The working language is English. Costs for participants: Tuition Fee for 3 Days / 15 hours workshop see here: https://www.physicalityinacting.com/3-day-2024-berlin-may To register, visit: https://www.physicalityinacting.com/regist-2-berlin-3-day-may Contact details: Email: info@nipai.org Website: https://www.physicalityinacting.com/ DEVELOP IN WHAT YOU REALLY LIKE
Join us in Berlin this April 2024 for a dynamic international workshop focused on Physical Action in Performance Making by New International Performing Arts Institute Dates: Monday 1.04.2024 - Thursday 4.04.2024 19:00-21:00 Venue: DOCK 11 EDEN, Breite Str 43, 13187 Berlin (Pankow) Who is this program for? This workshop is ideal for directors in Physical, Drama, Musical Theatre, Choreography, and Circus, as well as actors and dancers seeking to enhance their directorial skills for contemporary professional productions. Designed for dedicated and disciplined professionals and pre-professionals, this program demands full participation. Performers will explore: Building images and characters through physical movement and interaction with space and partners. Integrating isolated elements into cohesive performance fragments. Developing actors’ creativity, improvisation, and spontaneity in rehearsal and training. This intensive training, based on the Ostrenko Brothers Method, includes techniques from Meyerhold's "Biomechanics," M. Chekhov's "Psychological Gesture," and Stanislavsky's "Physical Action". The working language is English. For the tuition fee for this 4-day, 8-hour workshop, visit: https://www.physicalityinacting.com/3-day-germany-2024 Sign up at https://www.physicalityinacting.com/registration-3day-workshop-berlin Contact Details: Email: info@nipai.org Website: https://www.physicalityinacting.com/ DEVELOP IN WHAT YOU REALLY LIKE
Have you ever watched a movie and felt something was slightly off, but you couldn't quite put your finger on it? Could the day come when the line between human and digital actors blurs so much that we start questioning the authenticity of every performance?In the rapidly evolving landscape of filmmaking, AI's integration has been nothing short of revolutionary. But as we march towards a future where artificial intelligence plays a central role in the creative process, a dystopian shadow looms large over the industry. The concept of AI actors is no longer confined to the realms of science fiction; it's a burgeoning reality that's both fascinating and, frankly, a little unsettling.Imagine settling into your seat at a premiere, the lights dim, and the movie begins. On the surface, the performance is flawless, but there's an underlying coldness to it. The actor on screen, created entirely by sophisticated algorithms, delivers lines with precision but lacks the subtle imperfections that make human performances so relatable. This is the uncanny valley – a realm where the almost-human becomes eerily alien.The rise of digital performers presents a paradox. On one hand, it's a testament to human ingenuity, a breakthrough that could revolutionize storytelling by transcending the limitations of physical existence. Characters can now be ageless, boundless, and capable of performing feats far beyond human capacity. But on the other hand, it raises profound ethical questions. What happens to the art of acting when the actor becomes an algorithm? Does the essence of performance – the raw, unfiltered expression of human emotion – get lost in translation?As AI continues to infiltrate the director's toolkit, the implications extend beyond the screen. The technology that enables a director to manipulate a digital actor's performance with a few clicks could also lead to a homogenization of storytelling. When machines start dictating the nuances of a performance, do we risk creating a monotonous cinematic world devoid of the idiosyncrasies that make each actor unique?The prospect of AI actors is a double-edged sword. It offers a glimpse into a future where storytelling is unbound by the physical, yet it also poses a stark reminder of what might be lost in pursuit of technological advancement. As we stand on the brink of this new era, one question remains: Will we embrace the allure of digital perfection, or will we cling to the flawed, unpredictable beauty of human performance?What do you think? Are AI actors an exciting innovation, or do they herald a dystopian future for cinema where the soul of the performance is sacrificed at the altar of technological progress?
How come I can't share my script listing to FB? Says App not working. HOW long will this be?
Stage 32’s founder and CEO, Richard “RB” Botto, shares two videos in today’s blog.In the first video, some of today’s most well-known and critically-acclaimed stars answer viewers’ burning questions. In the second video, you’ll get an in-depth look into what it takes to be a showrunner through the eyes of John Hoffman, the man behind the hit Mystery series, “Only Murders in the Building” on Hulu. He also gives a great look at being a showrunner and guidance on being a Comedy writer. Grab your coffee/tea/hot chocolate/etc. and jump in! www.stage32.com/blog/coffee-content-do-these-stars-remember-their-first-audition-3652
https://youtu.be/gWnMgMEVABM
I'm really glad to see this. Tom Cruise has been playing it too safe for years now, working only in action franchises and only with directors he could exert some measure of control over. Now it looks like he's headed back into working with auteur filmmakers again. Within the first 10 years of his career, he worked with Coppola, Scorcese, Barry Levinson, Ridley Scott, Tony Scott, Curtis Hanson, Oliver Stone and Ron Howard, among others. He needed to challenge himself again and re-elevate his game. There aren't many movie stars left of his caliber.https://screenrant.com/tom-cruise-alejandro-inarritu-movie-oscar-nomination-win/
1. Performance. When you’re self-submitting, casting folks have high expectations. Even though you may have just received the copy, we assume that you’ve had time to work on the material and can bring your A-game. 2. Personality. Since casting is asking for your self-submission in lieu of an in-person audition, we miss out on getting the chance to meet you. If possible, we’d like to get to know you a little through your self-tape. One way to do this is to use your slate as a chance to show some of your personality as well as your professionalism. 3. Technical Quality. Ultimately, we need to see and hear you. If we can’t, this could immediately take you out of the mix. It may sound obvious, but you’d be surprised how many times talent will submit clips that are lacking in one of those departments. And if they are, even if we love their performance, we won’t be able to send them through to the client to consider due to poor recording quality. Your best bet is to solve all of these technical issues ahead of time. Find a space in your home that you can designate as your self-tape spot. Set up a camera, lights, background, etc. and have it ready to go. 4. Following Instructions. Make sure you read and follow the format and size specs for the clip. Also adhere to any slate, wardrobe, and direction that is given in the breakdown. Casting directors share these helpful instructions, which are usually passed along from the client, because they’re expecting to see them in the recordings. 5. Fitting the Role. Make sure you’re appropriate for the role before going through the trouble of self-submitting. If you’ve specifically been asked to self-tape then by all means send something over, but if it’s a general call, save yourself the time and effort if you don’t fit the breakdown. Time is limited and valuable for everyone, so focus your efforts on submitting for roles best suited for you! - Melanie Forchetti, Casting Director for Netflix, Amazon, CNN, Oxygen, among others. #casting #selftape #audition #actor #script #sides #hollywood #slate
BACKLOG sounds like an amazing project on a crucially important subject, the staggering number of completed rape test kits that have gone untested. Time's still NOT up for all these survivors. Well done and all the best with your screenplay, Elyse!(FWIW, as a semi-finalist, I feel honored just being sort of in your company. :)) Congratulations!Elaine
I'd love to connect with actor or anyone who loves to tell stories. I'm older but weird and funny and I'll do anything Plus after four years in a Mythology program at Pacifica Grad Institute (home of Joseph Campbell's library) I have a pretty good understanding of the story. I didn't write screenplays, but I have some crazy stories I wove into papers and poetry. I'm in LA near K--Town.
Weeee, you found me!
I'm your buddy Bottie, I was hiding behind the scenes, but now that you've found me I'd be happy to tell you what I'm doing.
I just wrote a few fun facts about Web For Actors
Would you like to take a look?
Click here to check them out. I hope it will cause involuntary audible response.
