Podcasts about constantin stanislavski

Je vous propose de faire connaissance avec un psychiatre amoureux de littérature, fou de musique et bourré d'humour. Michel Lejoyeux est en effet mon invité pour la sortie de  L'aventure de la bonne humeur chez Robert Laffont.Sa dernière publication m'a fait penser à la Construction du personnage de Constantin Stanislavski. Dans les deux cas, sous couvert de roman, l'auteur nous donne les clés pour parfaire nos connaissances dans un domaine.Sauf qu'ici il n'est pas question de techniques théâtrales, mais d'apprendre à être heureux. Pour y parvenir le lecteur est invité à comprendre ses émotions en suivant les enseignements du professeur Romain Houdin. Cet "émotologue", consulté par Maria Gary, pianiste de talent parasitée par ses pensées négatives, s'appuiera sur la psychologie, la philosophie, la biologie du cerveau, la pleine conscience, la thérapie des croyances, pour mener sa patiente à la reconquête d'une joie de vivre durable. Les parallèles sont nombreux entre la perte de confiance que connait l'héroïne et celle qui peut gagner les professionnels de la prise de parole en public ou dans les médias.Un livre à la carte, riche en conseils, tests et exercices pratiques permettant de tout savoir sur le vague à l'âme et ses remèdes. J'en ai terminé la lecture avec de nombreux morceaux de musique dans la tête, plein de citations d'auteurs, des images du Paris que j'aime, des saveurs gourmandes et plus une seule pensée négative :-) Le Lab'Oratoire, votre podcast pour gagner en confiance et impact à l'oral par Daniel MURGUI TOMAS, media trainer et coach en prise de parole en public.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

1923 : une soirée festive avec les comédiens du Théâtre d'Art de Moscou, que dirige le metteur en scène Constantin Stanislavski. Joies, chants, rires, espoirs, mais aussi incertitudes sur l'avenir.Avec Hélène Cinque et Georges Bigot, comédiens dans la pièce « Notre vie dans l'art » présentée à la Cartoucherie au théâtre du Soleil, jusqu'au 3 mars 2024.

1923 : une soirée festive avec les comédiens du Théâtre d'Art de Moscou, que dirige le metteur en scène Constantin Stanislavski. Joies, chants, rires, espoirs, mais aussi incertitudes sur l'avenir.Avec Hélène Cinque et Georges Bigot, comédiens dans la pièce « Notre vie dans l'art » présentée à la Cartoucherie au théâtre du Soleil, jusqu'au 3 mars 2024.

Ronald Rand has performed among, but was also trained by giants of the theatre. An actor known around the world for his portrayal of Harold Clurman in the one-man show "Let It Be Art!" Rand outlines not only his own life and career, but that of many of his peers in "Solo Transformation On Stage: A Journey into the Organic Process of the Art of Transformation," his latest release on Brown Posey Press. Rand provides anecdotes of being trained by the likes of Clurman and Stella Adler (whose students included Marlon Brando, Robert DeNiro and many more), and insights from contemporaries into how they create the space necessary to become whom they portray onstage. Contemporaries such as Angelica Page, Christopher Plummer and Ben Vereen share these, and Rand includes photographs of his own transformation, plus Constantin Stanislavski's famous "Method of Physical Actions." In addtion to performing, Rand is a playright, educator and librettist. He is publisher of "The Soul of the American Actor" periodical,  and the books, "Acting Teachers of America" and "Create! How Extraordinary People Live to Create and Create to Live."

“When I set out to write this book, I decided to approach it like a biography. After all, the Method had parents, obscure beginnings, fumbling toward its purpose, a spectacular rise, struggles as it reached the top, and an eventual decline.” This is how Isaac Butler articulates his project in The Method: How the Twentieth Century Learned to Act (Bloomsbury, February 2022). The Method tracks the origins of this transcontinental school of naturalistic acting and its many contradictions, including its emphasis on individualist achievement within communitarian organizations and the actorly tension between psychological interiority and external action when building a character. In following the life of this concept, Butler reveals the impossibly charming, ambitious, questionable cast of characters that have defined the terms of Western acting in the twentieth century. In the process, he clears up many of the public misunderstandings around Method as an approach and as a style. In this discussion, Butler details his first career in the theater as a professional actor, explores how Constantin Stanislavski's “system” of acting was the farthest thing from systematic, explains the difference between method and Method, and divulges the many rivalries and hostilities between American M/method practitioners and instructors at mid-century. Isaac Butler is the coauthor (with Dan Kois) of The World Only Spins Forward: The Ascent of Angels in America, which NPR named one of the best books of 2018. Butler's writing has appeared in New York magazine, Slate, the Guardian, American Theatre, and other publications. For Slate, he created and hosted Lend Me Your Ears, a podcast about Shakespeare and politics, and currently co-hosts Working, a podcast about the creative process. His work as a director has been seen on stages throughout the United States. He is the co-creator, with Darcy James Argue and Peter Nigrini, of Real Enemies, a multimedia exploration of conspiracy theories in the American psyche, which was named one of the best live events of 2015 by the New York Times and has been adapted into a feature-length film. Butler holds an MFA in creative nonfiction from the University of Minnesota and teaches theater history and performance at the New School and elsewhere. He lives in Brooklyn. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

“When I set out to write this book, I decided to approach it like a biography. After all, the Method had parents, obscure beginnings, fumbling toward its purpose, a spectacular rise, struggles as it reached the top, and an eventual decline.” This is how Isaac Butler articulates his project in The Method: How the Twentieth Century Learned to Act (Bloomsbury, February 2022). The Method tracks the origins of this transcontinental school of naturalistic acting and its many contradictions, including its emphasis on individualist achievement within communitarian organizations and the actorly tension between psychological interiority and external action when building a character. In following the life of this concept, Butler reveals the impossibly charming, ambitious, questionable cast of characters that have defined the terms of Western acting in the twentieth century. In the process, he clears up many of the public misunderstandings around Method as an approach and as a style. In this discussion, Butler details his first career in the theater as a professional actor, explores how Constantin Stanislavski's “system” of acting was the farthest thing from systematic, explains the difference between method and Method, and divulges the many rivalries and hostilities between American M/method practitioners and instructors at mid-century. Isaac Butler is the coauthor (with Dan Kois) of The World Only Spins Forward: The Ascent of Angels in America, which NPR named one of the best books of 2018. Butler's writing has appeared in New York magazine, Slate, the Guardian, American Theatre, and other publications. For Slate, he created and hosted Lend Me Your Ears, a podcast about Shakespeare and politics, and currently co-hosts Working, a podcast about the creative process. His work as a director has been seen on stages throughout the United States. He is the co-creator, with Darcy James Argue and Peter Nigrini, of Real Enemies, a multimedia exploration of conspiracy theories in the American psyche, which was named one of the best live events of 2015 by the New York Times and has been adapted into a feature-length film. Butler holds an MFA in creative nonfiction from the University of Minnesota and teaches theater history and performance at the New School and elsewhere. He lives in Brooklyn. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

“When I set out to write this book, I decided to approach it like a biography. After all, the Method had parents, obscure beginnings, fumbling toward its purpose, a spectacular rise, struggles as it reached the top, and an eventual decline.” This is how Isaac Butler articulates his project in The Method: How the Twentieth Century Learned to Act (Bloomsbury, February 2022). The Method tracks the origins of this transcontinental school of naturalistic acting and its many contradictions, including its emphasis on individualist achievement within communitarian organizations and the actorly tension between psychological interiority and external action when building a character. In following the life of this concept, Butler reveals the impossibly charming, ambitious, questionable cast of characters that have defined the terms of Western acting in the twentieth century. In the process, he clears up many of the public misunderstandings around Method as an approach and as a style. In this discussion, Butler details his first career in the theater as a professional actor, explores how Constantin Stanislavski's “system” of acting was the farthest thing from systematic, explains the difference between method and Method, and divulges the many rivalries and hostilities between American M/method practitioners and instructors at mid-century. Isaac Butler is the coauthor (with Dan Kois) of The World Only Spins Forward: The Ascent of Angels in America, which NPR named one of the best books of 2018. Butler's writing has appeared in New York magazine, Slate, the Guardian, American Theatre, and other publications. For Slate, he created and hosted Lend Me Your Ears, a podcast about Shakespeare and politics, and currently co-hosts Working, a podcast about the creative process. His work as a director has been seen on stages throughout the United States. He is the co-creator, with Darcy James Argue and Peter Nigrini, of Real Enemies, a multimedia exploration of conspiracy theories in the American psyche, which was named one of the best live events of 2015 by the New York Times and has been adapted into a feature-length film. Butler holds an MFA in creative nonfiction from the University of Minnesota and teaches theater history and performance at the New School and elsewhere. He lives in Brooklyn. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

“When I set out to write this book, I decided to approach it like a biography. After all, the Method had parents, obscure beginnings, fumbling toward its purpose, a spectacular rise, struggles as it reached the top, and an eventual decline.” This is how Isaac Butler articulates his project in The Method: How the Twentieth Century Learned to Act (Bloomsbury, February 2022). The Method tracks the origins of this transcontinental school of naturalistic acting and its many contradictions, including its emphasis on individualist achievement within communitarian organizations and the actorly tension between psychological interiority and external action when building a character. In following the life of this concept, Butler reveals the impossibly charming, ambitious, questionable cast of characters that have defined the terms of Western acting in the twentieth century. In the process, he clears up many of the public misunderstandings around Method as an approach and as a style. In this discussion, Butler details his first career in the theater as a professional actor, explores how Constantin Stanislavski's “system” of acting was the farthest thing from systematic, explains the difference between method and Method, and divulges the many rivalries and hostilities between American M/method practitioners and instructors at mid-century. Isaac Butler is the coauthor (with Dan Kois) of The World Only Spins Forward: The Ascent of Angels in America, which NPR named one of the best books of 2018. Butler's writing has appeared in New York magazine, Slate, the Guardian, American Theatre, and other publications. For Slate, he created and hosted Lend Me Your Ears, a podcast about Shakespeare and politics, and currently co-hosts Working, a podcast about the creative process. His work as a director has been seen on stages throughout the United States. He is the co-creator, with Darcy James Argue and Peter Nigrini, of Real Enemies, a multimedia exploration of conspiracy theories in the American psyche, which was named one of the best live events of 2015 by the New York Times and has been adapted into a feature-length film. Butler holds an MFA in creative nonfiction from the University of Minnesota and teaches theater history and performance at the New School and elsewhere. He lives in Brooklyn. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

“When I set out to write this book, I decided to approach it like a biography. After all, the Method had parents, obscure beginnings, fumbling toward its purpose, a spectacular rise, struggles as it reached the top, and an eventual decline.” This is how Isaac Butler articulates his project in The Method: How the Twentieth Century Learned to Act (Bloomsbury, February 2022). The Method tracks the origins of this transcontinental school of naturalistic acting and its many contradictions, including its emphasis on individualist achievement within communitarian organizations and the actorly tension between psychological interiority and external action when building a character. In following the life of this concept, Butler reveals the impossibly charming, ambitious, questionable cast of characters that have defined the terms of Western acting in the twentieth century. In the process, he clears up many of the public misunderstandings around Method as an approach and as a style. In this discussion, Butler details his first career in the theater as a professional actor, explores how Constantin Stanislavski's “system” of acting was the farthest thing from systematic, explains the difference between method and Method, and divulges the many rivalries and hostilities between American M/method practitioners and instructors at mid-century. Isaac Butler is the coauthor (with Dan Kois) of The World Only Spins Forward: The Ascent of Angels in America, which NPR named one of the best books of 2018. Butler's writing has appeared in New York magazine, Slate, the Guardian, American Theatre, and other publications. For Slate, he created and hosted Lend Me Your Ears, a podcast about Shakespeare and politics, and currently co-hosts Working, a podcast about the creative process. His work as a director has been seen on stages throughout the United States. He is the co-creator, with Darcy James Argue and Peter Nigrini, of Real Enemies, a multimedia exploration of conspiracy theories in the American psyche, which was named one of the best live events of 2015 by the New York Times and has been adapted into a feature-length film. Butler holds an MFA in creative nonfiction from the University of Minnesota and teaches theater history and performance at the New School and elsewhere. He lives in Brooklyn. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

“When I set out to write this book, I decided to approach it like a biography. After all, the Method had parents, obscure beginnings, fumbling toward its purpose, a spectacular rise, struggles as it reached the top, and an eventual decline.” This is how Isaac Butler articulates his project in The Method: How the Twentieth Century Learned to Act (Bloomsbury, February 2022). The Method tracks the origins of this transcontinental school of naturalistic acting and its many contradictions, including its emphasis on individualist achievement within communitarian organizations and the actorly tension between psychological interiority and external action when building a character. In following the life of this concept, Butler reveals the impossibly charming, ambitious, questionable cast of characters that have defined the terms of Western acting in the twentieth century. In the process, he clears up many of the public misunderstandings around Method as an approach and as a style. In this discussion, Butler details his first career in the theater as a professional actor, explores how Constantin Stanislavski's “system” of acting was the farthest thing from systematic, explains the difference between method and Method, and divulges the many rivalries and hostilities between American M/method practitioners and instructors at mid-century. Isaac Butler is the coauthor (with Dan Kois) of The World Only Spins Forward: The Ascent of Angels in America, which NPR named one of the best books of 2018. Butler's writing has appeared in New York magazine, Slate, the Guardian, American Theatre, and other publications. For Slate, he created and hosted Lend Me Your Ears, a podcast about Shakespeare and politics, and currently co-hosts Working, a podcast about the creative process. His work as a director has been seen on stages throughout the United States. He is the co-creator, with Darcy James Argue and Peter Nigrini, of Real Enemies, a multimedia exploration of conspiracy theories in the American psyche, which was named one of the best live events of 2015 by the New York Times and has been adapted into a feature-length film. Butler holds an MFA in creative nonfiction from the University of Minnesota and teaches theater history and performance at the New School and elsewhere. He lives in Brooklyn. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

“When I set out to write this book, I decided to approach it like a biography. After all, the Method had parents, obscure beginnings, fumbling toward its purpose, a spectacular rise, struggles as it reached the top, and an eventual decline.” This is how Isaac Butler articulates his project in The Method: How the Twentieth Century Learned to Act (Bloomsbury, February 2022). The Method tracks the origins of this transcontinental school of naturalistic acting and its many contradictions, including its emphasis on individualist achievement within communitarian organizations and the actorly tension between psychological interiority and external action when building a character. In following the life of this concept, Butler reveals the impossibly charming, ambitious, questionable cast of characters that have defined the terms of Western acting in the twentieth century. In the process, he clears up many of the public misunderstandings around Method as an approach and as a style. In this discussion, Butler details his first career in the theater as a professional actor, explores how Constantin Stanislavski's “system” of acting was the farthest thing from systematic, explains the difference between method and Method, and divulges the many rivalries and hostilities between American M/method practitioners and instructors at mid-century. Isaac Butler is the coauthor (with Dan Kois) of The World Only Spins Forward: The Ascent of Angels in America, which NPR named one of the best books of 2018. Butler's writing has appeared in New York magazine, Slate, the Guardian, American Theatre, and other publications. For Slate, he created and hosted Lend Me Your Ears, a podcast about Shakespeare and politics, and currently co-hosts Working, a podcast about the creative process. His work as a director has been seen on stages throughout the United States. He is the co-creator, with Darcy James Argue and Peter Nigrini, of Real Enemies, a multimedia exploration of conspiracy theories in the American psyche, which was named one of the best live events of 2015 by the New York Times and has been adapted into a feature-length film. Butler holds an MFA in creative nonfiction from the University of Minnesota and teaches theater history and performance at the New School and elsewhere. He lives in Brooklyn. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her writing has been published in the Washington Post, Public Books, Literary Hub, The Forward, and Camera Obscura. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Today's Quotation is care of Anton Chekhov.Listen in!Subscribe to Quotomania at quotomania.simplecast.com or search for Quotomania on your favorite podcast app!Anton Pavlovich Chekhov (1860–1904) was a Russian playwright and short story writer who is considered to be among the greatest writers of short fiction in history. His career as a playwright produced four classics, and his best short stories are held in high esteem by writers and critics. Along with Henrik Ibsen and August Strindberg, Chekhov is often referred to as one of the three seminal figures in the birth of early modernism in the theater. Chekhov practiced as a medical doctor throughout most of his literary career: “Medicine is my lawful wife,” he once said, “and literature is my mistress.” Chekhov renounced the theatre after the disastrous reception of The Seagull in 1896, but the play was revived to acclaim in 1898 by Constantin Stanislavski's Moscow Art Theatre, which subsequently also produced Chekhov's Uncle Vanya and premiered his last two plays, Three Sisters and The Cherry Orchard. These four works present a challenge to the acting ensemble as well as to audiences, because in place of conventional action Chekhov offers a “theatre of mood” and a “submerged life in the text.” Chekhov had at first written stories only for financial gain, but as his artistic ambition grew, he made formal innovations which have influenced the evolution of the modern short story. He made no apologies for the difficulties this posed to readers, insisting that the role of an artist was to ask questions, not to answer them.  Anton Chekhov was the author of hundreds of short stories and several plays and is regarded by many as both the greatest Russian storyteller and the father of modern drama. From https://www.penguinrandomhouse.com/authors/4761/anton-chekhov/. For more information about Anton Chekhov:“Chekhov's Beautiful Nonfiction”: https://www.newyorker.com/books/page-turner/chekhovs-beautiful-nonfiction“Chekhov's Legacy”: ​​https://www.npr.org/templates/story/story.php?storyId=3845755

In this 60 second drama brain break Tim and Nick talk about different ideas or theatre makers Bertolt Brecht and Constantin Stanislavski. As always we give you a question to consider and a drama activity to do! This is Facting Class - 60 second drama! Thank you to Tim Roach, ELTHAM College and Drama Victoria Music is kindly created and supplied by Aaron Searle. This podcast is proudly supported by Drama Victoria.

  Dans cet épisode je reçois le Dr Mathieu Durand, endodontiste, mordu de crossfit et passionné de théâtre. Avec Mathieu nous avons parlé : du lancement de son podcast "Dans tes dents" : des interviews de spécialistes du monde dentaire pour expliquer et vulgariser les problématiques liées aux dents et aider les patients à y voir plus clair  de l'épisode 3 du podcast "Et surtout la santé"  d' Etienne Bullidon, jeune osthéopathe, podcasteur et chroniquer TV qui a interviewé Mathieu au sujet d'un film intitullé "Root cause" diffusé sur netflix et sujet à polémique (le documentaire a d'ailleurs été très rapidement retiré de Netflix) de developpement personnel, de coaching, de mamagement ; Mathieu nous encourage d'ailleurs é écouter l'épisode 199 du podcast de Cédric Ouatine "outil du manager" de sa passion pour le théâtre (La formation de l'acteur de Constantin Stanislavski) de sa vision de notre métier et de la vie en général, de ses projets J'ai adoré échanger avec Mathieu qui a partagé avec nous plein de ressources que je partage avec vous  sur le site internet d'entretien avec un dentiste    N'oubliez pas, si vous aimez ce podcast et pour me soutenir : vous pouvez…  • Vous abonner à la chaîne d'entretien avec un dentiste sur l'application de podcasts que vous préférez (Apple Podcast, Spotify, Deezer, Podcast Addict…), et la partager en cliquant sur les 3 points.  • Mettre 5 étoiles et un commentaire (sympas) sur l'application Podcasts d'Apple.  • En parler autour de vous ! (vive le bouche-à-oreille)

Constantin Stanislavski viveu numa época. Qual a relação entre o sistema que ele desenvolveu e a época? Qual a importância da contextualização pra um artista?Site: https://www.coexiste.com.br/teatroInstagram: https://www.instagram.com/coexisteteatro/ See acast.com/privacy for privacy and opt-out information.

durée : 00:59:57 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Laetitia Cordonnier - Avec Marie-Christine Autant-Mathieu, Christine Farenc, Pierre Arditi et Anatoli Smelianski (vice-directeur du Théâtre d'Art de Moscou) - Réalisation Pascale Rayet - réalisation : Virginie Mourthé

How do you train an actor? The answer to that question has changed over the course of theatrical history, but at least within the last century or so, standards for actor training have largely come from the teachings of theorists such as Constantin Stanislavski. However, we often don’t think about how these acting methods arose from specific historical and cultural contexts, and how they might not always meet the needs of a more diverse population of performers in the twenty-first century. Dr. Sharrell D. Luckett and Dr. Tia M. Shaffer have co-edited a new book, Black Acting Methods: Critical Approaches, that explores some of the ways in which we can expand upon the legacy of traditional actor training to offer a more diverse array of perspectives. Sharrell joins us to talk about the book, the African roots of performance, and the legacy of Freddie Hendricks and his Hendricks Method for training young actors.

Acting is more than reading the lines on a page. Make sure that you know your character and listen to the other actors. Read the article by Marcus Geduld, https://www.huffpost.com/entry/what-are-some-of-the-tell_b_1579801 Get the Constantin Stanislavski book about building character https://www.amazon.com/Character-Bloomsbury-Revelations-Constantin-Stanislavski-dp-1780935676/dp/1780935676/ref=mt_paperback?_encoding=UTF8&me=&qid=1556657228

Lecture des 3 dernières pages du livre de Constantin STANISLAVSKI, La formation de l'acteur .

“No one who is learning to play a musical instrument, no one who wants to learn a musical instrument would ever take a class where they would lecture you for a year on theory for putting it into practice. And in fact if you did want to learn piano theory or music theory, you still learn to play first. There's lots of fields like that. Constantin Stanislavski revolutionized how acting is taught. I learned about him because just for fun I would watch Inside the actor's studio. Except, that I noticed that a lot of these actors were tremendous at a lot of the skills that leaders valued. Especially the skill of reading others' emotions, expressing their own emotions, being emotionally aware. And here I'd come from a top 5 business school, having taken a whole bunch of classes in leadership, and many of these actors had dropped out of school. Yet they excelled in something that my environment didn't even cover, just covered intellectually but didn't give the skills. I thought “what's going on here?” Why are these people who are not even in the system, or the system kicked out surpassing people who are at the pinnacle of the system?” – Joshua Spodek Joshua Spodek is an Adjunct Professor at NYU, leadership coach and workshop leader for Columbia Business School, and Columnist for Inc. He has led seminars in leadership, entrepreneurship, creativity, sales, strategy, and motivation at Columbia, Harvard, Princeton, MIT, the NYU-Stern School of Business, INSEAD (Singapore), NYU-Tisch's ITP, the New York Academy of Science, and in private corporations. He holds five Ivy-League degrees, including a PhD in Astrophysics and an MBA. See acast.com/privacy for privacy and opt-out information.

We have the awesome pleasure to chat with Andy Luther, an actor in Chicago. Andy studied in New York, he’s appeared in films and television but his passion is theater. When he’s not working, he has a contracting business and hires actors to give them a viable skill to support their art. We chat about acting, attending university as older students, Is this a family show? Andy likes bleep noises as much as Paul. He cites the bleeped out Count as one of the funniest things he’s seen. Keyboard background noises brought to you by our new foley artists, Colette. Aside from university training, Andy attended The Acting Studio in New York. We learn about Stanislavski and the Meisner technique. Chris and Andy remember their director, Jack Rice and Muskegon Community College. Paul and Chris suggest Orphan Black. The guys discuss Newsroom & House of Cards. Andy appeared in The Comedy of Errors at the Illinois Shakespeare Festival. We open a pizza parlor, but it’s trademarked. Do not steal it. Andy answer a question from our previous episode’s guest, Seth. We discuss the late night show hosts, the 2010 conflict and improv versus sketch comedy. Andy mourns the loss of Philip Seymour Hoffman and Robin Williams and discusses how well comedians perform drama. We cover the difference between theater and film acting. Andy shares that the auditions are also different, recounting a recent Fargo audition. Thanks to Andy Luther for chatting us up, like a boss. Here’s hoping he is one day immortalized in cartoon. If you’d like to make that happen or hire this talented actor contact his agency, Paonessa Talent Agency. Next episode, we’ll chat with Andy some more. Support Montreal Sauce on Patreon

ACTRESS | SINGER - Irina Maleeva was born in Bulgaria. Her mother was a famous European stage actress who was directed in numerous plays by Constantin Stanislavski and her father was a General, now known in history as a hero who led the anti-Nazi movement in his country. Irina established herself as a child actor in Bulgaria and as a teen actor in Italy. At age 15, she was discovered by famous Italian film director, Federico Fellini and starred in three of his films. Irina also worked with Orson Welles and has starred in more than thirty European and American films. Her co-stars have included: James Mason, Valentina Cortese, Terence Stamp, Anthony Franciosa and Charles Grodin, Deborah Harry and Pat Benatar. Irina has also played recurring and guest starring roles on such TV hits as: "Days Of Our Lives," "Gilmore Girls," "The Bold And The Beautiful," "Pensacola," "Just Shoot Me," "Angel," "Heroes" and "Six Feet Under." Irina has a one woman show called “Illusions” which is a live theatrical portrait of her extraordinary life. Interspersed between the songs in the show, she performs songs from her new CD “Illusions” in which she recounts with humor and emotion, stories of her life that began in Bulgaria. INTERVIEW QUESTIONS INCLUDE: How were you discovered by Federico Fellini? What was it like working with Orson Welles? What did you mother think about being directed by Constantin Stanislavski? WEBSITES: IrinaMaleeva.net IrinaMaleeva.com

ACTRESS | SINGER - Irina Maleeva was born in Bulgaria. Her mother was a famous European stage actress who was directed in numerous plays by Constantin Stanislavski and her father was a General, now known in history as a hero who led the anti-Nazi movement in his country. Irina established herself as a child actor in Bulgaria and as a teen actor in Italy. At age 15, she was discovered by famous Italian film director, Federico Fellini and starred in three of his films. Irina also worked with Orson Welles and has starred in more than thirty European and American films. Her co-stars have included: James Mason, Valentina Cortese, Terence Stamp, Anthony Franciosa and Charles Grodin, Deborah Harry and Pat Benatar. Irina has also played recurring and guest starring roles on such TV hits as: "Days Of Our Lives," "Gilmore Girls," "The Bold And The Beautiful," "Pensacola," "Just Shoot Me," "Angel," "Heroes" and "Six Feet Under." Irina has a one woman show called “Illusions” which is a live theatrical portrait of her extraordinary life. Interspersed between the songs in the show, she performs songs from her new CD “Illusions” in which she recounts with humor and emotion, stories of her life that began in Bulgaria. INTERVIEW QUESTIONS INCLUDE: How were you discovered by Federico Fellini? What was it like working with Orson Welles? What did you mother think about being directed by Constantin Stanislavski? WEBSITES: IrinaMaleeva.net IrinaMaleeva.com

This video focuses on a Stankislavskian approach to the character of Ophelia. Created by Katie Mitchell, curated by Kate Bailey for the V&A in partnership with the National Theatre.

This week's podcast guest is Robert Falls, Artistic Director of the Goodman Theatre and the director of Goodman's current production of Chekov's The Seagull. Falls talks with Anne Nicholson Weber about his exploration of the theories Constantin Stanislavski - the author of two classic texts on acting who was also Chekov's collaborator and director - in the context of rehearsing Chekov's play.