Podcasts about grotowski

Zdjęcia z pokazów teatralnych, które nie każdy mógł zobaczyć. Wystawa Mój Grotowski sięga do mało opisywanego i owianego tajemnicą okresu działań Jerzego Grotowskiego, który na zawsze zmienił życie kulturalne w Polsce. Czym był parateatr i dlaczego nie każdy mógł wziąć w nim udział? O działaniach i twórczości Grotowskiego mówi dr Przemysław Radwański. Pyta Ula Ożarowska. Wystawę organizuje Centrum Europejskie UW.

Success on the sand! Another year, another FAU Beach Volleyball trip to the NCAA Championships (3rd time in 4 years)! Head coach Steve Grotowski spends some time with Ken LaVicka to discuss one of the banner programs at Florida Atlantic. Coach Steve explains why he felt "relief" before any sort of joy following the Sandy Owls' C-USA tournament triumph and how he's grown as a head coach over the past three seasons. Also, he reveals if ever had reservations about taking over the program following the death of his wife and former HC, the architect of FAU Beach Volleyball, Capri Grotowski and lays out how the program has learned how to play and thrive as "the hunted". In addition, Grotowski breaks down why he's able to continually produce championship teams and what he expects from his side as they embark on the 2025 NCAA Championships. SUBSCRIBE to “The Florida Atlantic Voice” podcast: Spotify Apple Podcasts Follow Ken LaVicka on social media: X – @KLVsays Visit Robes Law Group: RobesLawGroup.com

Send your questions or provocations to Adam or Budi here!Join us as we unveil the lineup for our third annual Theatre of Others Book Club! This year, our theme is 'Books you should have studied... but didnt!"We'll explore the works that have shaped theatre and theatre making process through the ages - examining their influence on modern performance practices.Follow along with us and join in on the discussion!February - The Poetics by AristotleMarch - The Natyasastra by BharataApril - Fushikaden by ZeamiMay - The Elizabethan World Picture by E. M. TilyardJune - Theatre and its Double by ArtaudJuly - Total Theatre by E.T. KirbyAugust - Toward's a Poor Theatre by GrotowskiSeptember - Myth, Literature, and the African World by Wole SoyinkaSupport the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: (Intro) Jack Burmeister, (Outro) https://www.purple-planet.comAdditional compositions by @jack_burmeister

Journal Intimedi e con Chiara CapitaniProduzione edizioni Full Color Sound Progetto a cura di Elettra MallabyÈ uscito da pochi giorni su Storytel l'audiolibro Journal Intime di Chiara Capitani, un progetto che esplora i cambiamenti della sessualità e in particolare quella femminile nell'arco dell'ultimo secolo. Journal Intime si compone di 13 storie, 13 donne e 13 epoche diverse, offrendo uno spunto per riflettere sull'evoluzione delle esperienze sessuali femminili dalla fine degli anni '50 fino ai giorni nostri. Ogni episodio si concentra sulla prima esperienza sessuale di ogni donna, mettendo a confronto le testimonianze di donne che hanno vissuto la loro prima volta negli stessi anni ma in paesi diversi, o semplicemente in regioni diverse, venendo da situazioni sociali e familiari eterogenee.Questa ricerca offre un'opportunità unica di osservare sia le somiglianze che le differenze, non solo all'interno di uno stesso decennio, ma anche nell'arco di decenni successivi. L'ascolto delle storie, raccolte attraverso le voci di queste donne, può suscitare un senso di solidarietà, ma anche di disappunto, di ricordi, di nostalgie e di riflessioni, portando a un approfondimento delle dinamiche sessuali, sociali e culturali nel corso del tempo.L'unicità dell'esperienza umana emerge con forza dalla condivisione di queste testimonianze, che ci parlano di desideri, tabù, liberazioni e trasformazioni. Utilizzare l'audio riporta inoltre alla trasmissione orale della storia. A differenza della maggior parte dei documenti di cui si avvale la ricerca storica, la fonte orale è una fonte relazionale non unilaterale, in cui la comunicazione avviene sotto forma di scambio di sguardi, di domande e di risposte.Nel Secondo Sesso pubblicato nel 1949, Simone de Beauvoir – saggista, filosofa, femminista francese, esponente dell'esistenzialismo – descrive il primo rapporto sessuale per le donne come un'esperienza violenta. In un certo senso, l'iniziazione sessuale della donna, come quella dell'uomo, comincia dalla più tenera infanzia. C'è un noviziato teorico, e pratico che prosegue in modo continuo dopo le fasi orale, anale, genitale, fino all'età adulta. Ma le esperienze erotiche della fanciulla non sono un semplice prolungamento delle attività sessuali anteriori; hanno spesso un carattere imprevisto e brutale; costituiscono sempre un avvenimento nuovo, che porta ad una rottura con il passato.Nel momento in cui le attraversa, tutti i problemi che si pongono alla fanciulla sono riassunti in forma urgente ed acuta. In alcuni casi la crisi si risolve facilmente; in altri, tragici, si conclude col suicidio o la follia. Ma sempre, a seconda del modo con cui reagisce, la donna impegna gran parte del suo destino. Tutti gli psichiatri sono d'accordo nel dare un'estrema importanza al suo esordio erotico: esso si ripercuote su tutto il resto della sua vita.Cap. III. L'iniziazione Sessuale Simone de Beauvoir.Il sesso, a causa della religione, della morale, della cultura patriarcale è stato, soprattutto nel passato, argomento misterioso, vergognoso, scandaloso. Spesso donne e uomini per l'accezione negativa riservata all'intimità sessuale, preferivano avvicinarsi a un corpo simile al proprio, dello stesso genere, prima di avere il coraggio d'incontrare il sesso opposto. La liberazione sessuale degli anni sessanta ha rivoluzionato i rapporti amorosi dell'età moderna.Come si è trasformato l'incontro intimo per la donna tra XX e XXI secolo e soprattutto il primo incontro? Come si è evoluto il rapporto con il proprio piacere personale? Nel mondo odierno in cui la sessualità sembra un argomento senza tabù né limiti cosa accade realmente nell'intimità? Gli adolescenti sono davvero più liberi e sessualmente più attivi, rispetto anche solo a dieci anni fa?Journal Intime è nato come un'installazione audio, in cui le testimonianze generose di otto donne erano collocate in otto stanze separate, ognuna delle quali invitava il visitatore a entrare e a condividere un'esperienza intima con le voci che raccontavano. Dopo le quattro esposizioni, Chiara Capitani ha preso coscienza dell'impatto che queste testimonianze avevano avuto: avevano infatti suscitato la discussione, creato un'eco tra le intimità delle persone e stimolato riflessioni personali, ma anche collettive, sulla storia comune. Gli scambi con le persone che sono entrate nelle stanze sono stati intensi e ricchi, alimentando il desiderio dell'artista di non fermarsi solo a otto donne. Ha sentito il bisogno di proseguire questa ricerca e di ampliare la diffusione di queste storie, rendendole accessibili a un pubblico più ampio tramite il mezzo dell'audiolibro.Come ci ricorda lo storico Sandro Portelli: “la storia orale è un'arte, oltre che dell'ascolto, della relazione: la relazione fra persone intervistate e persone che intervistano (dialogo); la relazione fra il presente in cui si parla e il passato di cui si parla (memoria); la relazione fra il pubblico e il privato, l'autobiografia e la storia”. Dalle memorie private di queste donne è dunque possibile aprire uno squarcio su una storia che appartiene a tutte e tutti noi. Scelgo la forma audio, perché la voce ci regala moltissime sfumature. Le donne intervistate sono più libere di rivelarsi e di raccontarsi. Se oscuriamo il senso della vista e accendiamo l'udito, possiamo percepire l'emozione, i respiri, gli accenti, il modo diverso di esprimersi riguardo al sesso di ogni donna.L'ascolto audio rende più intimo anche lo stesso rapporto che lega le persone che narrano e chi ascolta, l'obiettivo dell'audio libro è trattare l'intimità in tutti i suoi aspetti dal contenuto alla realizzazione. Journal Intime è un filo telefonico che con la mia voce, lega le storie di 13 donne di generazioni diverse per permetterci di aprire piccole finestre sul nostro passato e aiutarci a capire da dove veniamo e forse verso dove stiamo andando. – Chiara CapitaniChiara Capitani è un'attrice, autrice e arte terapeuta italiana che vive e lavora tra Francia e Italia. Ha iniziato la sua formazione artistica con Gisella Burinato e successivamente al Centro Internazionale della Cometa di Roma, diretto da Nicolaij Karpov e Lilli Cecere. Nel 2009 si trasferisce a Parigi, dove prosegue il suo percorso di ricerca all'ARTA, collaborando con il Workcenter di Grotowski e Thomas Richard. Si forma anche con Leela Alaniz e, nel 2017, esplora la scrittura scenica con Daria Deflorian e Antonio Tagliarini. In Francia, collabora alla performance Wanderkammer Soap #7 - Le Massacre de Paris, d'après Marlowe, di Ricci/Forte. Per il grande schermo, nel 2014 recita accanto a Xavier Gallais nel film Une braise sur la neige, diretto da Boris Baum. Nel 2015 fonda il collettivo Lilith Théâtre con Emine Meyrem e Maria Laura Baccarini, un progetto che si occupa di tematiche femminili. Il loro primo spettacolo, L'Amort, debutta a Parigi il 25 novembre, in occasione della Giornata Internazionale contro la Violenza sulle Donne, con il patrocinio del Sottosegretario del Ministero per i Diritti delle Donne. Nel 2018 partecipa alla performance GirlisaGun, che riflette sulla condizione del corpo nei lavoratori e lavoratrici del sesso, creata e diretta da Isadora Pei e Nina Negri. Dal 2016 è parte della compagnia Fool's Cap Theatre, con cui debutta nel maggio 2018 con Attachés, una performance sulla dipendenza affettiva,presentata all'Odin Teatret di Holstebro, Danimarca. Nel febbraio 2019, debutta con il suo monologo Bibbidi Bobbidi Bum, scritto e interpretato da lei, sulla continua influenza dell'inconscio collettivo e della società sulle scelte delle donne, con la regia di Stefano Scandaletti. Nel 2021 si diploma come arte terapeuta presso l'Istituto di Ricerca di Psicologia Applicata PROFAC. Attualmente dirige un atelier di scrittura terapeutica per donne alla Maison de la Conversation e altri laboratori di dramaterapia con persone in situazione di handicap cognitivo e/o fisico. Dal 2023 è la creatrice e conduttrice del podcast di successo Journal Intime, in cui racconta le storie intime di donne "ordinariamente uniche" che lottano quotidianamente per decostruire gli schemi sociali stabiliti. Le testimonianze raccolte mettono in discussione temi come genere, sessualità, identità culturale, famiglia, corpo e lavoro, e interrogano le norme preconcette della nostra societIL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Steve Grotowski and his wife Capri were taking beach volleyball to the next level. Steve was competing in the Olympics in Beach Volleyball, and Capri was the Head Coach of Florida Atlantic University, with Steve as her Assistant Coach. Then Capri was diagnosed with breast Cancer. She fought on for almost a decade, while still coaching with Steve nearly the entire time. Capri died in 2022. Hear how Steve keeps her memory alive as he works to defeat the terrible disease that killed her.Links mentioned: For more information go to www.side-out.org. Follow the side-out organization on Instagram: https://www.instagram.com/sideoutfndn/Have suggestions for the podcast? Email Janice: leaveitbetter@side-out.org

- Na początku myślałam, że to będzie jednorazowa impreza, która przypomni Rzeszowowi i całemu światu, że tych trzech wielkich reformatorów teatru wywodzi się z ziemi rzeszowskiej. Grotowski i Szajna urodzili się w Rzeszowie, a Kantor w Wielopolu, czyli mówimy o promieniu 40 km - mówiła w Dwójce Aneta Adamska-Szukała, dyrektor artystyczna festiwalu "Źródła Pamięci".

Send your questions or provocations to Adam or Budi here!In this episode, Adam and Budi are joined by Andy Paris. Join us as Andy talks through the process of creation of 'The Laramie Project', to his personal practice. Andy Paris is a director, writer, actor, teacher, and entrepreneur. As an original member of Tectonic Theater Project, he co-wrote and directed Uncommon Sense, developed and acted in Gross Indecency and The Laramie Cycle (Emmy nomination for writing) and co-wrote the book, Moment Work: Tectonic Theater Project's Process of Devising Theatre (Vintage 2018). Other favorite directing projects include Goldstar, Ohio (A Times Newspaper's Theatre Tribute for Outstanding Direction), The American Family, and at UNCSA: Inheritance and the Taub/Woolery musical adaptation of As You Like It. Other favorite acting credits include Or,, The Quiet Room, Innocents, The Necklace, and Love's Labours Lost. Regional: La Jolla, Berkely Rep, Huntington, Cincinnati Playhouse, et al. TV: L&O SVU. Andy is a 3-time AUDIE Award winner for his audiobook narrations. www.andyparis.net www.voiceworksaudio.comSupport the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

Send your questions or provocations to Adam or Budi here!In this episode, Adam and Budi delve deeper into their Legacy Series, exploring the work and profound influence of Jerzy Grotowski. They discuss the life of Grotowski's life, along with his innovative contributions to theatre, and the lasting legacy he left on the global stage. Mentioned in this EpisodeThe AssemblyWork Centre of Jerzy Grotowski & Thomas RichardsThe Acrobat of the HeartThe Unwritten GrotowskiAt Work with GrotowskiSupport the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

Steve is the Head Beach Volleyball Coach at FAU. Steve has played at a really high level and has really help bring FAU to the top of the country.

- Rumuni znają nas bardzo mocno z takich nazwisk jak Grotowski, Kantor, Wajda, Agnieszka Holland czy Wisława Szymborska. Mam poczucie, że nie jesteśmy mało znanym krajem, ale krajem bardzo lubianym - powiedziała w Programie 2 Polskiego Radia dr Olga Wysocka, dyrektor Instytutu Adama Mickiewicza - współorganizatora projektu Polsko-Rumuński Sezon Kulturalny.

Lee asks Simon if he is where thought he would be and also where we wants to be: A conversation about change, ambition, community, regret and going along for the ride. Some other details from the episode: Tearing up over bread, Lee will be missed, vacuum cleaners, living a normal life, most car drivers being above average, David McRaney's You Are Not So Smart, what normal looked like to one's younger self, Simon meeting some people who like his bread, regret and not having a great memory, tip-toeing in the world when you are going through something, people banging on about kids (when they are not), life just happening to us, free will, the rollercoaster of life, not working on the weekends, Grotowski, Lee's Mum's spreadsheet, selling cigarettes and pornography to truck drivers, being a goldfish, Simon teaching a sourdough workshop, the pleasure of trying to get good at things, and the difference between being process and outcome oriented.Get in touch with Lee and Simon at info@midlifing.net. ---The Midlifing logo is adapted from an original image by H.L.I.T: https://www.flickr.com/photos/29311691@N05/8571921679 (CC BY 2.0)

FILMBRANSCHPODDEN - A PART OF ACASTING VEM: Erik Bolin, Ester Uddén, Robert Jakobsson YRKE: Skådespelare SÄSONG: 1 EPISOD: 3 EN PODD AV: Simon Kölle - www.linktr.ee/simonkolle OM: Erik Bolin, Ester Uddén och Robert Jakobsson berättar om sina respektive tankar kring gestaltning, teater, leken som förlöser det kreativa, om spännande möten, dramatiska ögonblick i karriären och drivkrafter. De tre etablerade skådespelarna diskuterar skådespeleriets hantverk och delar med sig av starka nedslag i deras respektive karriärer. SPONSRAS AV: Ritualen - www.ritualen.com NÄMNER (bland annat):  Teater Albatross, Erik Bolin, Ester Uddén, Simon Kölle, Robert Jakobsson, Bob Hansson, Uppsala,, Statsteater, Eldteatern, Julius Ceasar, Svartsjön, 1917 - När klockorna stannade, Allen Ginsberg, Riksteatern, Keve Hjelm, Dramaten, Snus och öl, karaktärers drivkrafter, Frasse, cross-dressing, Mats, Py Huss-Wallin, Haninge, The Word, Portia, Shakespeare, Ingemar Lind, Mats Ek, Pier Paolo Pasolini, Sociolekter, Stockholm, Småland, Göteborg, Akalla, Södermalm, Meisner, Grotowski, Artaud, Stanislavski, Mindfulness, Kniven mot strupen, Närvaro, Leken förlöser det kreativa, Lekfullhet, Konst, Tappa masken, Skådespeleri Enköping, Helig!, Klezmer, Dirty Weekend, Teater Brunsgatan 4, Sara Ribbenstedt, Inte alla hästar i stallet, Richard Jarnhed, Strindberg, Mattias Silvell, Tyresö, Comedy Store, Tupilak, P-O Enquist, Standup comedy, Bomba, Iliza Shlesinger Los Angeles, Hänga i tårna, Lina Källhager fd. Waleij, Blackout, Ryska Revolutionen, Tokalynga, Halland, Kvinnoorkestern i Auschwitz, Ullared, Scenskolan i Malmö, Mästaren av Margarita, Filip Alexanderson, Bryta näsan, Hasse Klinga, Kungastolen, Fysisk teater, Elin Klinga, Ernst-Hugo Järegård, Berns Salonger, Jesus, Pontius Pilatus, Audition, Self tapes, Provfilmning, Andre Eriksen, Burbank, Hedda Stjärnstedt, Bahar Parz, Kaj Granander, Jordcirkus, Ryssland, Nynningen, Progg, Nationalteatern, Skogsorgeln, Teater Giljotin, Reklam, www.teateralbatross.se, Morden i Sandhamn, Per Simonsson, Falkenberg Forever , SVT, Johanna Runevad, Isak Hjelmskog, Umeå, Folkets Hus, Yasuragi, Klangskålar, Mytologiskt berättande, Drum stories, Medveten Närvaro, Schamanism 

durée : 01:00:26 - Tous en scène - par : Aurélie Charon - Le premier volume des Écrits du metteur en scène polonais vient de paraitre aux Editions de l'Arche, sous la direction de Mario Biagini, avec la collaboration de Michelle Kokosowski. On peut y lire des essais, des reportages, des transcriptions d'entretiens, beaucoup inédits en français - invités : Michelle Kokosowski

durée : 01:00:26 - Tous en scène - par : Aurélie Charon - Le premier volume des Écrits du metteur en scène polonais vient de paraitre aux Editions de l'Arche, sous la direction de Mario Biagini, avec la collaboration de Michelle Kokosowski. On peut y lire des essais, des reportages, des transcriptions d'entretiens, beaucoup inédits en français - invités : Michelle Kokosowski

I'm super excited to have Aimee Greenberg on the show today. Aimee's a true New Yorker, who's worked with some of the best teachers in the business like Sanford Meisner, Wynn Handman, and Stella Adler. She's got some serious Off-Broadway creds, having cut her teeth at La Mama, Etc., Theatre for the New City, and The Medicine Show Theatre. Aimee's collaborated with some big names in the industry too, like Grotowski, Augusto Boal, and Guillermo Gentile. She's also raked in quite a few prestigious awards and fellowships like The Asian Cultural Council Fellowship, The Los Angeles Endowment, The Los Angeles Women's Foundation Award, Seattle Original Works, and the Susan B. Komen Award. With her wealth of knowledge and experience, Aimee's been teaching performance technique, writing, directing, theatre, and film studies at international conservatories and universities like JAMU, UCSD, CSUSM, SDSU, and CSLA. Let's get into it as we talk to Aimee about her career, experiences working with theatre icons, and what she thinks about the industry today! _________________ Ukraine on Stage The performance in San Francisco will raise funds for the work being done by the Ivano-Frankivsk Drama Theatre in Ukraine.  The Theater is not only serving as a bomb shelter, community center, and food distribution point, but is also continuing to perform.   Its recent activities are discussed here and here.  (If you view any of these websites using the Google Chrome browser, you can right-click on a page to translate its content into English.) This event is sponsored by the Ukrainian American Coordinating Council: Website here and facebook page here. The Performance is on Saturday, April 29 at 2 P.M. Tickets ______________________________________________________________________ Leave a review on Apple Podcasts (Itunes) Green Room On Air Web Site: http://greenroomonair.com  Facebook: https://www.facebook.com/raysgreenroom/ Opening and Closing Music by Carly Ozard: http://carlyozard.com Contact Ray at Green Room on Air: greenroomonair@gmail.com 

Pílulas Feministas é uma série de podcasts, produzidos pelo NINFEIAS (PPGAC-UFOP) desde abril de 2020, que tem o intuito de tratar de temas caros à agenda feminista, tais como violência doméstica, abuso sexual e masculinidades tóxicas, sempre sob um viés de análise interseccional e em linguagem bastante acessível. Nos episódios da categoria “Entrevista”, pesquisadories do NINFEIAS entrevistam especialistas em assuntos de interesse, aprofundando-se em questões candentes da atualidade. Neste episódio, as artistas pesquisadoras gordas Aline Luppi Grossi e Maria Clara Camarotti são entrevistadas por Renata Santana para falar sobre os estigmas enfrentados nas Artes da Cena, bem como os desafios enfrentados em suas trajetórias artísticas. Aline Luppi Grossi (PR) é performer, artivista, licenciada em Artes Cênicas - Teatro pela Universidade Estadual de Maringá (UEM), produtora cultural inserida na nova geração de artistas críticos de seu entorno. GORDA e debochada, expurga na arte todo o peso de existir. Maria Clara Camarotti (PE) é atriz, diretora, performer, professora e pesquisadora, mestranda em Artes Cênicas (UFBA) e Graduada em Artes Cênicas (UFPE). Pesquisa a noção de “Corpa” como palavra que rompe com a universalidade da ideia de corpo e se apresenta de forma feminina para abarcar as existências dissidentes. Instagram de nossas convidadas: @alineluppigrossi e @mariaclaracamarotti Referências citadas na criação do episódio: BELCHIOR, Jussara - Site: https://www.jussarabelchior.com/ CASTANHEIRA, Ludmila Almeida. Performance arte: modos de existência. Curitiba: Appris Editora, 2018. GROTOWSKI, Jerzy. Em busca de um teatro pobre. In:______. Em busca de um teatro pobre. Rio de Janeiro: Civilização Brasileira, 1987. HALBERSTAM, Jack. A Arte Queer do Fracasso - Recife: CEPE, 2020. KILOMBA, Grada. Memórias da plantação: episódios de racismo cotidiano. Tradução de Jess Oliveira. Rio de Janeiro: Editora Cobogó, 2019. LORDE, Audre. Irmã outsider: Ensaios e conferências. Belo Horizonte: Autêntica, 2019. MOMBAÇA, Jota. Não vão nos matar agora. Rio de Janeiro: Cobogó, 2021. TOVAR, Virgie. Meu corpo, minhas medidas. São Paulo: Primavera, 2018. TOVAR, Virgie. Tienas Derecho a Permanecer Gorda. Espanha: Melusina, 2000. Músicas de artistas GORDAS: Levanta a Mina - MC Carol - https://www.youtube.com/watch?v=5EUBH... RAP Plus Size: Toda Grandona - Issa Paz, Sara Donato - https://www.youtube.com/watch?v=lYgQQ... Carta à boa forma (Pesada) - Anná - https://www.youtube.com/watch?v=pYsse... Arreda - Gaby Amarantos - https://www.youtube.com/watch?v=yozwC... Pílulas Feministas vai ao ar quinzenalmente, sempre às quartas-feiras. Fiquem de ouvido em pé! Produção: NINFEIAS - Núcleo de INvestigações FEminIstAS Edição e tratamento do áudio: Renata Santana Vinheta - narração: Amanda Marcondes. Música: Maria da Vila Matilde (Elza Soares) - Remix: Shaitemi DJ - Insta: www.instagram.com/shaitemi_dj/ Imagem: Logo do NINFEIAS, por Paola Giovana. Insta: www.instagram.com/apaolagiovana/ Edição em vídeo (para YouTube): Marcia Cristina Sousa (Marcinha Baobá).Insta: www.instagram.com/ninfeias_/ Facebook: www.facebook.com/ninfeias/ Email: ninfeiaseventos@gmail.com

Matthew Kerns, President & Artistic Director of St Lou Fringe, stopped by to talk about this year's festival, which runs August 15 through 21 at venues throughout the Grand Center Arts District. ------  Matthew is a John F. Kennedy Center for the Performing Arts award-winning educator, critically acclaim theatre performance artist featured in American Theatre Magazine, and a 2020 St. Louis Business Journal Diverse Business Leaders Award recipient. ———   Matthew has been an Executive Producer, Director, and Artistic Director for Off-Loop Theatre [Chicago], Off-Broadway Theatre [New York], Reparatory Theatre [California], Regional Theatre [Iowa, Missouri, Colorado] and Educational Theatre [Chicago, California, Colorado, Iowa, Missouri]. ——   Matthew's artistic portfolio includes original performances [Xmas Carol, Chicken, Life in the Fastlane], Immersive events [Gay Fantasia, Home], and standard plays and musicals [Noises Off, For Colored Girls…, Frost/ Nixon] ———   Students that have trained with Matthew have gone on to work in television, film, major motion pictures, and on Broadway. From Saturday Night Live to Gotham, and from Six: The Musical to Jake, the State Farm Guy and beyond. ———   Matthew is an expert in the performance practices of Stanislavsky, Meisner, Grotowski, Somatic Movement, Improvisation, Roy Hart Vocal Technique, Moment Work, and Viewpoints. ———   He has presented at the NAIS Conference, National Writing Conference for Youth, Missouri Conference on the Younger Years, TCG National Conference, and at TEDx. ———   Matthew holds an Associate degree in Communications and Theatre from St. Louis Community College, a Bachelor of Fine Arts degree from Eastern New Mexico University, and Master of Fine Arts degree from Naropa University. ———   He married the love of his life, Mr. Sean Gottlieb, in a simple service under the St. Louis Arch in April of 2020. They reside in the Lafayette Square neighborhood in St. Louis, Missouri with their dogs Lewis, Harvey Milk, and Tuxedo the Cat. ———

Francesco Faraci"Anima nomade"Da Pasolini alla fotografia poveraPrefazione di Franco ArminioA cura di Desirée MaidaMimesis Edizionihttps://www.mimesisedizioni.it/Luce, luoghi e corpi guidano da sempre la ricerca di Francesco Faraci, fotografo documentario e scrittore, interprete di una fotografia povera che travalica i confini e il convenzionale per cercare di cogliere l'essenza delle cose. Dal pensiero meridiano al pensiero nomade, dai sobborghi di Palermo ai “ragazzi di vita” pasoliniani, da Grotowski a Celant, questo volume racconta, anche per immagini, una fotografia “randagia” e un modo di fare cultura “nomade”: un errare attraverso e oltre i confini fisici e concettuali, da quelli delle periferie a quelli dei luoghi comuni, in cui la strada diventa sinonimo di un percorso intimo e umano, particolare e generale. È un viaggio “eretico” quello che ci propone questo saggio, un racconto che “sceglie” di vedere, e mostrare, persone e gesti dimenticati o, semplicemente, troppo spesso ignorati.“È un libro farmacia. Sfogliarlo è una cura.”Franco ArminioFrancesco Faraci (Palermo, 1983). Dopo studi in sociologia e antropologia scopre la fotografia come principale mezzo di espressione e inizia a girare la Sicilia, in lungo e in largo, alla ricerca di storie da raccontare. Nel 2021 collabora con Achille Lauro per il singolo Solo Noi e insieme descrivono le periferie romane. Nello stesso anno collabora con Netflix e Alessandro Cattelan per la docuserie Una semplice domanda. È autore di tre libri fotografici: Malacarne (2016), Jova Beach Party. Cronache da una nuova era (2019) e Atlante umano siciliano (2020). È anche autore di un romanzo, Nella pelle sbagliata (2017). I suoi lavori sono apparsi su “The Guardian”, “Time Magazine”, “The Globe and Mail”, “la Repubblica”, “L'Espresso”, “Le Monde”, “Libération”, “VICE”.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

We're excited to launch the FuturePerfect Podcast where we talk with compelling people breaking new ground in art, media, and entertainment. The podcast is produced by FuturePerfect Studio, an extended reality studio creating immersive experiences for global audiences. Episodes are released every two weeks, visit our website futureperfect.studio for more details.The text version of this interview has been lightly edited for clarity. Find the audio version above or in your favorite podcast app.This week Wayne Ashley interviews Krzysztof Garbaczewski, a theater director from Poland and founder of the Dream Adoption Society. He is a graduate of the Faculty of Theatre Directing and Dramaturgy at the Ludwik Solski State Theatre School in Kraków.He uses the medium of theater to touch upon existential issues and search for the limits of human experience. Since 2017, Krzysztof has been developing a new theatrical language using 3D virtual environments, avatars, physical scenography, and live actors. He combines these into carefully crafted mixed reality experiences for both online platforms and theatrical audiences.What was the impetus for your shift from classical physical theater training into a focus on the virtual?Krzysztof Garbaczewski: Theater has this ability of being a very experimental field for human interactions, and from the beginning, that's been important for me. From this approach I became very interested in playing with the audience's expectations and I began to use live streaming techniques. For example, when the audience comes to the theater they suddenly see a screen in front of them completely covering the stage and see that there are people behind the screen. Almost like in Plato's cave with the performers moving like shadows. It's also important for me that all the footage we are using is made live. Even if it is happening in virtual reality, my work is still live. I think there's some amazing energy around being with the audience in the same room in this process.Theater has come to an end for you in some way. Theater has failed or it's no longer a site for experimentation and innovation. Something about that is thrilling to me.KG: There is something about reaching this end especially in the work of Grotowski. He reduced theater to the basic elements of the actor and the spectator. At some point he crossed this division into some kind of form that starts to be ritual. Grotowski was looking for ritual in theater. I'm looking for it in this digital form of theater. Ritual is something that connects us.Grotowski had this term art as vehicle. For me it became really interesting to interpret that as digital art as vehicle. He was trying to show the boundary between the spectator and the actor. The actor is in the process of reaching some higher energies through gathering the energy of the spectator and performing some very codified movements and songs to transcend his condition. Somehow I saw that that is exactly what is happening for us when we are using VR headsets. But through technology we can reach this state in a very special way and practice much more quickly.All of Grotowski's writings are very inspiring for me. At some point he was unsatisfied with conventional theater and was in search of a form of theater that was alive. I think this aliveness is maybe not found in the conventional stage of the theater. (Laughing) Suddenly I am recognizing myself as someone who is making similar choices, but maybe in the opposite direction. But this direction is so opposite that I still feel very close to Grotowski. If he was alive today maybe he also would have also made VR.There's this spiritual and philosophical dimension that underlies your use and understanding of technology. You speak of transcendence and mysticism. You've talked about Plato and about the world as a simulation. You've brought up all kinds of transcendent ideas about technology. Tell me about those mystical ideas that you see in technology. How does that effect that way you work?KG: Since I studied philosophy years ago, it was always very tempting for me to stage The Symposium by Plato. It's one of the most significant philosophical pieces in the whole of human history and it's also a dialogue. It has parts, people are talking to each other, and in a kind of naive way that seemed to be perfect for theater. We did Symposium in Warsaw a few years ago. It was very successful and is still playing today, seven years later, to a full house. I find it kind of funny, you know, that people come and listen to Plato for two hours.All the Plato categories are also very inspiring for VR. With Plato's cave there's this feeling that there's something behind the reality. Something behind our matrix that we live in. I have this intuition that technology is not something that is getting us farther from this essence, but actually can get us closer to it.It is similar with nature, which is a problematic term because all of the nature in the world has become culture or agriculture. There are no white spots on the maps anymore. Technology reveals to us new fields of research that we can apply to human consciousness. Tools like virtual reality or artificial intelligence allow us to recognize ourselves more. For me, this process of working with the virtual is like an alchemic process—where we bind some elements that are surprising and new—like new creations, creatures, avatars and all other digital entities that are starting to populate our world and we can interact with them.There's a whole new set of tools for theatrical composition, dramaturgy, and audience experience. You not only have the theater, but you also have the VR space, live film, and the possibility for another remote audience to connect through VR to the work. Give us a sense of what it's like to enter a theater and experience one of your works.KG: It's something that works on my consciousness and the consciousness of the audience. We use all those tools to discover some new field for this consciousness to come together. Actors perform on the stage in VR headsets and then their avatar is transmitted to a screen onstage and we can see the actor performing live on stage but also performing in the virtual world to a virtual audience.I somehow feel that all these things are there on the stage, not always physically, but in a mediated form. This opens up philosophical questions like what is this reality? What is time? How do we experience this time when, suddenly, an actor is performing somewhere far away, but also very close? And this effects us and gives us very different sensations, so I'm looking for those sensations and trying to make poetry out of it.Here, Faust is important for me as a poetic language. All these things we are using are like words and poetry. They combine into very paradoxical meanings and sometimes work against our common sense and understanding of reality. For the audience, I think it's sometimes pretty shocking to experience this, but it's like a good shock, you know. It takes us out of this normal state of just participating in this reality without questioning it. We need to question this reality to somehow make this world a bit different.In Goethe, this is very special for me right now. A lot of freaky stuff is happening during the rehearsals. Goethe somehow becomes this spiritual experience of gathering different ghosts. Faust is calling those ghosts in the beginning of the drama and we are in a similar process of calling those ghosts. Sometimes I feel that Goethe is somehow present with us and guiding us through this process that is also a very hallucinogenic experience.There's this part where Faust is drinking this potion—the witches potion that is making him younger—and there's a guy who made the potion himself in the 1950s. He was drinking this potion with his friend and they both had a very intense experience. And I feel it's like a trip somehow, this poetry, but described in a very mystical and philosophical language.You talk about the importance of theater as a space to explore boundaries. What kinds of boundaries do you think technologies enable us to cross?KG: Boundaries of time and space and boundaries of our understanding of being together, these are the main boundaries that we are crossing.For example you mentioned earlier that you watched my piece Exegesis that we did together with La MaMa in New York and CultureHub. It's inspired by the novel by Philip K. Dick, this amazing diary of transcendent experiences he had. He then describes that he spent the rest of his life trying to understand what happened to him.We were meeting for our rehearsals and recordings in virtual reality. We were spending all our time together in VR together with Jim Fletcher, Danusia Trevino, 3D artists like Anastasia Vorobiova, composers, and actors. And it was amazing to create this utopian digital community that is making theater and suddenly crossing boundaries. We were crossing this fact that at the time we couldn't just meet together and it was opening some new possibilities.I like that you are sharing the very positive and productive aspects of virtual production, because some of my colleagues would say you can't make live performance unless the bodies are in the same space and time. So I'm very excited to hear you talk and actually promote a different way of working with new results when you can't meet in the same space and time.I think here there is no opposition between those two fields. Of course, it's very funny to go to theater and it's also very funny to go to digital theater. I think both forms have their reason for existence. But for me it was, just recently, more mind blowing to experience all these virtual pieces because of the possibilities that it creates. With all the possibilities of creating things that are really not possible to experience in reality. This is in a sense hallucinogenic, but it's like hallucinating without drugs, just through technology you can reach those levels. I feel that presence is still present, but maybe you need to spend a bit more time for your consciousness to really adapt to it.In theater, after finishing a performance, we hug each other when we do it live. We were doing the same after playing digital performances. It was maybe a bit awkward to hug someone and suddenly experience that you had just touched a bunch of scattered polygons, but the feeling was still with us. With the development of technology this will become something really powerful for performance.In this piece The Artist is (all but) Present (the title is a joke on the Marina Abramović performance, but it also was maybe the most Grotowski piece that I made) the theatrical situation was really reduced. The spectator was wearing HoloLens glasses and was seeing the hologram of the actor on the empty stage. It was really amazing visually. The performer and spectator were creating poems together and everything the spectator was saying was appearing in the room, flying as words in space. It's really something you cannot experience any other way. You're participating in this poetic conversation and this creation is somehow automatically appearing. These are the kinds of moments that makes this work really new.I'm remembering this moment in our first encounter on Zoom, where you said that you have a distaste for the idea of story and that we should stop using the word storytelling. I'm very attracted to that. In the past few years the whole discourse, from marketing to theater and performance venues, has been that everyone is going to be telling their story and that storytelling is the most important thing that human beings do. So I was taken by your distaste for that. Do you remember what you were communicating to me when you said that?I would maybe make the supposition that experience is something more significant than storytelling and that not everything can be put into storytelling. Storytelling is something that is happening in time and experience is something you can have immediately like enlightenment. Enlightenment is of course a very big thing, but it doesn't always have to be this big thing. It's also those moments where you understand something in one second and you grasp all the meaning. When you try to tell a story out of that or try to describe that meaning it is suddenly all lost. You have to spend another week and write and essay and a lot of sweat to bring it back.I feel we are losing something by storytelling. We are losing some potential of the art by just putting everything into a story. We are closing ourselves on this much deeper experience. Like the fact that an art piece can leave you speechless. What then about storytelling? Of course if you expand the meaning of storytelling into some other realities or meanings, maybe then both make sense again. But I feel some possibility of art, metaphors, and abstract art can just go directly to your mind and your soul and change you.Change for us is some kind of mystery. I don't want to say that I'm a mystic here, and some psychologist could put it in better words, but this change is very rapid it's just happening. One day you wake up and you're someone else. It's the same with art, you experience something and you don't exactly know why it's so important. But then it comes back to you and becomes this very significant moment in life. It's like falling in love, it's more like a process than storytelling.This last image of you before we stop—this image that you sent to me of you in your boat. The boat is a very powerful symbol. It's not stable, it's not on land, it's in the process of going somewhere else. There's a journey and potential threats and crises. It's also about leaving somewhere to go somewhere else. Tell me where you are with your boat right now.I call it liquid modernity. It's like surfing on liquid modernity, a term by Zygmunt Bauman, a philosopher based in England. (Laughing) Even today I was just thinking, my god, I chose the most unstable home I could imagine. We started by talking about the war that is happening right now. And we see that all these things that we think are stable are shifting and becoming at times dangerous. But of course this idea appeared to me before that. I'm not yet a refugee escaping on a boat. I'm more like Odysseus going for a moment to another island and then turning it into a trip for 10 years now. We'll see.I also wonder how to make digital art on a boat using, as much as I can, sustainable energy from the sun and wind and traveling by those means of the wind and water. I like the knowledge that is necessary. The weather and the navigation and the stars and how you can use it for setting the point where you are like in those old times. Somehow for me it's a very modern experience in a way, of trying to see the changing points, and not being in a stable position, and always in some kind of movement.So when is your next trip?I just have to finish this Faust piece and then I'm going on the sea.Where are you going?I have the boat in Poland right now. So I will probably go to Norway or Denmark or Germany. Or somewhere farther, hopefully reaching the Mediterranean or Iceland. Iceland is cold, but still very fascinating.I think this is a good place to stop to imagine you on this boat, leaving Poland to Iceland. And your journey with all of its stabilities and instabilities. and tools for locating directions and points of references. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit futureperfect.substack.com

Intro: Boz did MDMALet Me Run This By You: Will Smith and Chris RockInterview: We talk to Katharine Scarborough about The New School, Ron Leibman, Robert LuPone, Casey Biggs, the Actor's Studio, Neil Labute's Fat Pig, Harvard's A.R.T., Shakespeare & Company, Moscow Art Theatre, Biomechanics, Michael Chekhov technique, Michael Chekhov Theatre Festival, Ragnar Freidank, Mabou Mines, Dixon Place, The Brick Theater, JoAnne Akalaitis, Big Girl web series, Jean Taylor, clowning, clown burlesque, improv culture, Bridesmaids, Melissa McCarthy, actor branding, cultivating a good relationship with agents, One on One NYC.FULL TRANSCRIPT (unedited):2 (10s):And I'm Gina Kalichi.1 (11s):We went to theater school together. We survived it, but we didn't quite understand.2 (15s):And at 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.1 (21s):We survived theater school and you will too. Are we famous yet? So I think the main thing I just want to say is like, I took drugs, but we call it the medicine. Right. Everyone's like in the ma so I did, and I won't, it's still illegal because it's still in third clinical trials, but I took MTMA with a trained MTMA guide. Who's also a therapist whose name I shall not say so that she doesn't go to jail for some weird reasons. And I'm going to tell you, and you probably already know this from your, from, I know you have some like knowledge about psychiatry or about psychedelics in terms of medical use and stuff like that.1 (1m 12s):Not that you've done them, but you know what I mean? I know you, whatever the point is, I think it's going to change psychiatry. Like it's going to change2 (1m 21s):A hundred percent.1 (1m 22s):I had. Okay. First of all, I was scared shitless. So MTMA is the pure forum for people that don't know of, of ecstasy or Molly, but it's, it's, you know, pharmaceutical grade and it's whatever, it's very, you know, whatever, it's a, it's a legit medicine, but I was scared. I was like, I'm going to die. I'm going to take this. This is where for someone that has anxiety more than I have depression, I think now anyway, in my life, the fear was I'm I'm doing something illegal. This is wrong. And I'm going to suffer for it also, like that was the moralistic fear. And then the actual fear of what the fuck is going to happen.1 (2m 3s):So for people, you know, just so people know, like you're in this person, rented a house and Airbnb and had a beautiful, I was, it was just me and her and a beautiful, like, amazing bed. That was that she brings in. That's like a foam, a memory foam. It's not as shitty thing. It's like really great. And I even thought that before I was on drugs, right? Like I was like, this is a really good setup. The house was a neutral house. Meaning she picked a great thing, which was there. Wasn't the, the family of the people's art on the walls. It was like pictures of surfing and stuff and like water.1 (2m 44s):But like not a lot of people, there were no mirrors. Like I was like, is this made for this? And she's like, no, I just found this. There was no, no, the house was clean. So it felt really good. Right. But not sterile. So that was great. And she had flowers and stuff and there was like a table set up. So then you go in, you bring objects and, and pictures, if you want. And there's two kinds of MDM assisted therapy, right. There's talk therapy you could do with two therapists. I did not. This, this practitioner does not do that kind. She's a firm believer in like letting the client lead their own experience.1 (3m 26s):And at first I was like, oh, I hate that. I want you to take care of me. Like I was like, I want all the therapists in the room. Right. It was like a real, and then I said, you know, no, I'm gonna, I'm an adult. Like I can it's. Okay. And also when you have two therapists in the room, they, they, they use the music less. So what I will say is the music was, I would say 90% of what was amazing about this. I don't even like music really. Like, I'm not a music person, but you, you literally have your headphones noise, canceling headphones with th with curated music from MTMA musicians.1 (4m 7s):So people that have scientists have worked with psychiatrists and doctors to develop music specifically for psychedelic MTMA journeys it's and it's timed with the medicines. So, because they know, because they've done studies, they know the trajectory of the journey in terms of what you're going to be, what kind of thing is going to be maybe happening. So they time this music. So you put on these headphones and there's like blankets. And I brought my own blanket. And it's you do like beforehand, you say a prayer and like, not a prayer, but like, yeah, like, like a, like a meditation tension.1 (4m 47s):We said, I, and believe me, this was not something I took lightly in terms of, I for weeks have been committed to doing it. So then there's a workbook beforehand there's sessions with the therapist beforehand. So it is not a party. This is not, I cannot say this enough. It is a journey and not a party. So meaning that it's a whole thing. It's like a process it's it's therapy. It's it's medical treatment is what it is. Okay. So you have this headphones on and also the music is playing in the room as well, the same music. So that even if you take your headphones off, you hear it and okay. And you have total blackout shades on, on your eyes.1 (5m 31s):So a mask that is comfortable and soft, but really dark. And I was like, oh my God, I'm going to die. Like, this is, this is it. This is how I die. And then I was like, you know what? You have so much, like you you've done so much research. You've watched the videos, you know, this is not gonna, they're gonna kill you, but you're scared. Okay. But I just took the pill. I was like, okay, here we go. So I took the pill and then you lay down and you're like, okay, it's not working. Like none of it. And by the way, I've never taken equity in my life. I've taken throughs and I'm taking acid and obviously marijuana I've smoked and stuff and edibles, but never that. So I was like, nah, it's not working.1 (6m 12s):And then the music, okay, well, all I can say is it becomes a party for your body and the notes I will share with you in an email that she took. I said some of the funniest things that I've ever said, and also you're like still aware that you're you. So it's not the feeling because for someone like me who has trauma and panic, the big fears that you'll disappear, I will disappear. I won't have an identity and no one will take care of me. And I will, I will totally decompensate to the point of death. Like that is really the thing, this drug, this medicine, you know, you're still you like, if, if, if a police officer, God forbid came up and said, what's your name?1 (6m 57s):And you could answer all those questions. It's just, it literally turns off the part of your brain that is super judgy. So I knew what was happening sort of, but then the music, I was like, okay, this is not working. And all of a sudden, Gina, the music becomes the most beautiful music you've ever heard in your life. Like, you can't believe that humans made the music. Like I was like, this is, and I, I kept saying, this is like watching a movie with your body. So you're. Yeah. So you're like, and then, okay, so you feel, I felt great. And like, you're underwater, you can breathe under water and there's some visuals, but you're seeing nothing.1 (7m 40s):I mean, there's no, there's black, but you're seeing it. So you are kind of hallucinating. But the thing, and the thing that happens is with MTMA is that the whole principle is that inside of us, that these MTMA psychiatrists and therapists believe that there is an inner healer drive to live person who knows better inside of all of us before the trauma happens. Right. It's moved that we access that part of ourselves during the MTMA journey and you, and that's why they say trust the medicine. And I'm like, that is, fuck you. Trust them like beforehand. I was like, but you, and don't get ahead of the medicine, all these things they say.1 (8m 21s):And you're like, what? But you, you know what it means once you do it, you're like you is the most. So you're feeling good. I felt like you just feel relaxed and, but it gets you in that state. So then you can look at your trauma, so,3 (8m 38s):Oh, okay. Like making everything, just so PR conditions being perfect. Yeah.1 (8m 44s):And then you're like, oh, this is a hard song. So it feels like, oh, this is a hard song. And that's how I started to feel. This is going to be a song. And it, and I can only tell you that, like I worked through some it's, it is, it's like 12 therapy sessions in six hours in a, in a, in a, in a wonderful way in that I looked at some stuff, some crazy stuff, but it is not, we're not when we're on MTMA we're not attached to the trauma. So it's like watching a movie, but also you're feeling it.1 (9m 27s):Like I could feel fear and panic come up. So it wasn't like I had a good time all the time, but I wasn't, you can go towards it without feeling like you're going to be annihilated. I didn't think I was ever going to be annihilated by my trauma in the, in the medicine. I felt like I had the resources and I knew there, and I was curious about what the songs and the music and the drug was going to show me rather than petrified. And I have to get the fuck out of here. And like, I don't care what I do.3 (10m 6s):Did you ha did you remember things that you hadn't remembered before?1 (10m 10s):No. It was like, well, no, no. It was like different. It does it in a way that is like, not you. So the things I worked through, I can say it was like a song and the music is timed. When you're at the peak of the medicine for this, it was like some crazy, like intense, you know, soundtrack to a scary, not a scary movie, like, like, like a war movie. Right. And you're like, oh God. And at least that was my experience. But then what happened was I had a nine 11 situation where I was in the burning building is so crazy. This is nine 11. And I'm in a burning building on the 94, but I'm not panicked. I'm like, okay, this is what's happening.1 (10m 52s):And I go to a man and a woman who are dressed in business clothes, and they're sort of tattered. And we've all been through this horrible crash. And I say, you guys, we have to jump now. And they're like, fuck, you know, way to a man and a woman blonde lady. And I say, listen, I know you're really scared work on a jump together. We're together. And this is the last conscious choice we get to make as a group to do, to take, to take our lives in our own hands. I'm going to ask you now to take my hands and we're going to jump and they're like petrified and I'm like, we can do it. And then, and I'm here watching Jen, the observers, like what is going to happen, but not like I got to get the fuck outta here and clawing at my skin.1 (11m 38s):No, no, no more like we, I knew that we had to do this. And so I took their hand and we jumped and then we started flying. We flew away. So I like helped them to, and it's really me helping me. Right. So like, I get that now. But like, and so I wasn't like petrified. So that was a huge moment. But the other moment was none of the people I didn't want to come in, came in. So like your inner healer knows, like I didn't want to see my parents and I didn't want to see my sister. And I didn't. I saw my dad in the, like a field and he was young and happy. Great. We like, that was great.1 (12m 18s):But in the song, there was a, like a Tibetan song nothing's in English, which is great. So like, if there are words and lyrics, it's not an English, which is great. Unless you speak those languages, then you might know what they're saying, but I did not. And so there was a Tibetan, like guys scream, like screaming, singing, like chanting. And in my head, I was like, oh, this is the reckoning song. This is where he makes other people atone for their sins against me. He's yelling at them, all the bad things they did to me. So I don't have to do it like stuff like that comes forward where you're like, holy fuck. So, and then the other thing was the name.1 (13m 1s):And I will say this, and I will not say the name, but the name of someone I think like sexually abused me as a child came forward. And it just said, the name of your perpetrator is, and then there was the name and it wasn't scary. And it was at the end of my journey. And it was sort of like, this is just the name and it's the name I knew. And it's a name that I had questions about. And I was like, oh, okay. And it was like, not a dun dun dong. It was like, this is3 (13m 33s):Okay. Okay. Oh my God. I make so many feelings.1 (13m 37s):Oh God. Yeah. So, so that is my, so my takeaways are still, I have many sessions afterwards. I'm gonna meet with her tonight on zoom. And we it's an ongoing process. I don't know if I'd ever do it again. They say like, you just do a maximum of three, three sessions for any person, unless you have like severe, severe trauma. And then sometimes they mix it with mushrooms and ketamine and they do all kinds of things for like combat veterans and stuff like that. Or just people that are really stuck for years that are on like 40 meds. And like can't. So I will say that it's changing psycho, like it, because you are self fricking guided.1 (14m 21s):It is, I didn't make the experience about anyone, but myself and I was able to take ownership over. Like it was parts were scary. Parts were lovely. Parts were fun, but it was my experience. So like, you don't lie.3 (14m 40s):You're the protagonist in a story.1 (14m 42s):And I didn't make the therapist, the leader, or I sh she was there as a witness. So what I'm saying about MTMA therapy is if you are committed to it is one it's just like fucking having a dog or getting married or anything else. If you don't really have to, or need to do it, I would say, don't do it. But if you are someone who is in therapy, working on your shit and you feel stuck, or you feel like there is a trauma that you just refuse to touch in there, talk therapy or whatever MTMA is, is the thing. But, but I really recommend, like I took a shit ton of supplements before a shit ton of supplements after HTP, all things you can get at whole foods because your body does need to.1 (15m 29s):And I got a massage, you got to do it the right way. Like this is, I tell people it's not a party, but it's also, it's like a journey. And it's also a huge self care thing. It's like, it's all the all, and they say, the minute you commit to the medicine like that, you're going to go on a journey. The medicine starts working. So like stuff will come up before then you're on. So all this to say, what are your thoughts when you hear this?3 (15m 55s):Well, I mean, I'm, That's what I would be scared of this Learning something new about my past.1 (16m 12s):Right, right. I know. I know. It's3 (16m 17s):Afterwards. How do you feel about that?1 (16m 20s):I, I feel like she not first want to say, like, I totally get that. I was petrified and I, The worst in our life has already happened to us because we were children and we could not do anything about it. That is the worst part of the whole thing is that we were little and had no resources. That is the crime that was committed against us. Not that it, it was that we were resource lists. The thing about MTMA and how I feel. I never felt resource lists.1 (17m 0s):I knew3 (17m 2s):If I'm prepared1 (17m 3s):And in the journey, even while I was like, oh, this is going to be hard, but I never felt like D I was in danger and I never felt like a child. So trauma robs you of your adult hood. Right. So it tells you you're still five and you're still in the situation and nobody's going to help you. You don't feel like that on MTMA. I don't know about, I feel like on other drugs you might, but MTMA is like really renowned for people feeling in somewhat in control. Like I could have, I wouldn't want to drive a car, but if like I needed to, I could have been like, oh, Hey, let's get out of the house now, but I hear you.1 (17m 43s):But it is so evident in my journey that like,3 (17m 51s):We w it really helps to grow you up. Let me run this fine. Everybody has trauma that they need to look at. And that leads us into what we definitely have to run by each other, which is th this thing that happened at the Oscars and talk about trauma. And, you know, all I could see in that moment was two little boys. I saw Gina.3 (18m 30s):Exactly. I thought, oh, they're so hurt. So deeply hurt. I have no tools right now to it, especially for will Smith. It's like, he, he short-circuited somehow. And was his trauma was unable to stay under wraps and it came out in, on a public stage. And that's all I could see too, because that's my framework. That's my, that's my paradigm. Yeah. And, and, you know, of course in the information age that we're in and the, in the social media age, the, the, the, the second something like that happens, all anybody can think about is like, what are the hot takes going to be on Twitter?3 (19m 16s):Right. Okay. Well, there's a variety of takes, but they all seem to be mostly focused on who was wrong or what was wrong, you know, which to me is like, not the point, you know, like it's, who's hurt, who is hurting and what are they going to do about their hurt? You know, I said, yeah. I said, these people, all of them involved need help and support. Absolutely. They need help need shunning. They don't need, you know, I mean, and, and I don't really hear too many people talking about Chris rock, but I mean, I hope his people are checking on him because he gave his help to television.3 (20m 1s):And I just, I know that that has happened to him before. Right. I just felt like this is such a redo of his child that I don't know that it must be. And he said, you know, he's talked about everybody hates Chris. That was a joke. And he talks about getting him, getting in trouble with his mouth before, but I don't know, man. It was just so raw. And I kinda think they just, I guess they had to air it, but, and it's sort of live or whatever, but I don't know. I just, I wish there had been, I wish the grownups had come in. Well, what we need all I was telling my therapist yesterday, we need referees to say, wait, time out time, like psychological referees that are like, this is actually going into a territory.3 (20m 43s):That's not okay. So like, let's stop and regroup, but nobody, you know, it's1 (20m 47s):Capitalism and money. And nobody cares about psychology.3 (20m 49s):It's like, oh, good ratings. You know, this is getting before,1 (20m 52s):Like, fuck them. They're rich. So who cares about them? Or fuck that.3 (20m 55s):I hate that. I, that argument just really is just so tired. Like, oh, if you have money, then you're not allowed to have any other problem for life.1 (21m 4s):Well, the other thing I think is like, if we, if we live in a capitalist world, which we do, and basically the rich people run things, I want my rich people to be healthy.3 (21m 13s):Amen to that. Yes.1 (21m 16s):Yeah.3 (21m 18s):And talk about tools and resources. I mean, they, they that's, that's the one thing I will say, if you have those resources, you have a responsibility to make use of them in a way that contributes not detracts from the world and yourself and the people that you love and who love you, you know? Yeah. So it was sad. And, but at the same time, I was happy. There was theater back in the Oscars. I was happy about all of the firsts that happened. I was, I, it, it looked to me to be the most inclusive orange show I've ever seen in terms of what they talked about and hoop in the symbolism.3 (21m 58s):And I really, I really get into the symbolism, you know, when people wear certain things and do certain things, and this rep, you know, I'm sure if we could talk to the set designer, we would, we would learn a lot about what the symbolism was of the set. And so I thought that was interesting. I was wondering where they were sitting around these tables because it's not like the golden gloves are not eating meals. And then when, when these dancers got on, I thought, oh, this is for this. And, and it just felt like theater. And I just thought, yeah, okay, good. We need this. Anyway. We need, we need to get back to like, something more pure about why we all went into this because Yes. And visceral, because the other thing that occurred to me is like, wow, I never heard about this before, but it must be so tense to be at the Oscars,1 (22m 46s):Like horrible.3 (22m 48s):You're either tense about what you're wearing tense about whether or not you're going to win tense about what speech you're going to make tense about what I noticed people. I feel like I could read people's body language when they were dissatisfied with where their seat was. You know, I just felt like everybody was, everybody comes to that night with who are you going to tell me? I am. Oh,1 (23m 10s):Right. That's right. And am3 (23m 11s):I, is that going to be acceptable to me? And it's a very narrow definition of what's.1 (23m 17s):Yes. Well, yeah. It's like, yeah, it's teeny, it's impossible. It's impossible. So I think you got to go, like, I now know why, like Frances McDormand goes and she's like completely stoned or like, or like just crazy people do because it's too much pressure. That's the other thing I'm real I saw was with the, with the will Smith thing, was that the amount of, like you said, tenseness, you know, the amount of pressure they, everyone looks like ready to pop. They're so anxious and stressed out and understandably it's. So I, I know now why people don't go to those things. Like I always thought it would be so fun, but now that I'm looking at it, I'm like, that seems like a lot of work and also real tense,3 (24m 3s):Real, real tense, but that doesn't take away from the beautiful, you know, I heard some beautiful speeches and overall I think overall I hope everything that happened at the Oscars is indicative of like things moving in a better and better direction, but we're also very far away from a lot of things, a whole lot of things.1 (24m 26s):And, and then there's this, you know, and we don't really have time to talk about it this time. We're going to talk about next time maybe, but like this whole thing of like, okay, so a lot of, you know, like who gets to have a take on what went down? So like, people are, are saying, you know, I've seen members of the black community saying, you know, like no white people should talk about this. And, and frankly, I didn't feel the need to talk about it as a half white, half Latino or as a human. I also, my, I thought, I thought, oh, my framework is I come from a place of like, we're all traumatized. So like, that's what I, and I'm trained in that. And that's what I can chime in about if somebody asks my goddamn opinion, like you and I ask each other's opinion, but nobody's asking my goddamn opinion.1 (25m 13s):So I don't keep my mouth shut. If you want to ask me what I think, then we talk about it on our podcast. You know what I mean? But like, I don't need a platform Twitter to talk about will Smith and Chris rock, they, plenty of people are doing that3 (25m 25s):Where people1 (25m 26s):Covered3 (25m 27s):It's covered. It's well-covered yeah. Oh, I just have a very quick update about my fascination with those tick talks with the, the women and1 (25m 36s):They're getting ready and the coming home,3 (25m 38s):I found out they're all infomercials1 (25m 44s):For the products in there for all the products.3 (25m 47s):Yeah.1 (25m 48s):So it's actually nothing about there. They don't really do that.3 (25m 52s):I mean, who knows,1 (25m 54s):How did you find that out?3 (25m 57s):'cause my kids stole they're like, I mean, and they were, they weren't saying mom, you know, that's just infomercial. They were like, yeah, you can get all those products. If you just click on the thing you can see. And I was like, oh, so the whole thing is a commercial. And they were like, yeah, what did you think it was?1 (26m 12s):You're that it was a day in the life of a lovely lady with very many gadgets and outfit.3 (26m 19s):And it was just one of those moments like, oh, I, so1 (26m 24s):I have those all the time. I have those all where I'm like, oh, I'm truly an eater.3 (26m 29s):I'm truly so dumb. I deserve, I deserve to waste my money on these products and they don't want to get my money completely work. I did in the end, only buy one thing. Oh, you1 (26m 42s):Actually did buy what you3 (26m 43s):Buy. I bought it a egg cooker. You can, you can hardball eggs in the microwave.1 (26m 50s):Well, that's pretty good. Okay.3 (27m 9s):Today on the contest we were talking to Catherine Scarborough. Catherine is an award-winning New York city-based actress and writer. She got her MFA in acting from the new school for drama. And she's also trained with the Moscow art theater and the people's improv theater. She has a lot of interesting stories and she has a fantastic web series called , which you can find on her website, Catherine scarborough.com. So please enjoy our conversation with Catherine Scarborough.6 (27m 51s):Yeah. Yeah. Perfect. Okay.3 (27m 53s):So congratulations, Catherine, Catherine Scarborough, you survived theater school and your first new-school alone. So I I'm really intrigued by the way, by your intro here, he says, can be interesting conversation. Does that mean you had a mixed bag of a time?7 (28m 10s):Well, first of all, thank you. I, yes, it was definitely a mixed bag. It's an interesting program. Yeah. I mean, I, the training, my professors were really great. I had a lot, I really am happy with my artistic training. It was the business side of things1 (28m 32s):That7 (28m 33s):I, we went out into the world completely unprepared.1 (28m 36s):Okay. When did you graduate? You look so young.7 (28m 39s):20 13, 20 131 (28m 44s):Is recent. So we graduated and fricking long, long time ago. So, so like, like, yeah, nineties. So, so at 2013, the new school didn't really prepare you business wise. And I mean,3 (28m 59s):When did these people get,1 (29m 0s):When are we going to get prepared,7 (29m 4s):Please schools do it, to be honest with you. I think that if it's a name, if it's a school that you can walk into an audition room and they're like, oh, you're a Yalie. You're NYU. It's a different story. But like, to give you an idea, and I got my MFA, it was not a BFA program. It was an MFA program when we were getting ready or we had done our showcase maybe. And then we were doing, you know, reaching out to agents and managers, this spreadsheet that we were given, some of the people on it were dead1 (29m 44s):Or in jail or in jail7 (29m 46s):Dead. I mean, one of my classmates came back, oh1 (29m 48s):My God, these people,7 (29m 52s):They were like, I'm sorry, this person has passed away.1 (29m 60s):That's3 (29m 60s):Crazy.1 (30m 1s):I really, I really applaud that. Person's tenacity. They were like trying to get repped by a ghost. They will do like, I'll take anyone, give me the ghost, even3 (30m 10s):The ghost ghosted me. Okay. So, so you weren't prepared, but what about the straight training side of it? Like7 (30m 20s):You,3 (30m 21s):Presumably you went there saying I'm going to be a famous actress. Give me all I need to know. Did they fit the bill in that way?7 (30m 30s):Yes and no. I mean, it was, you know, again, once again a mixed bag, I had some fantastic professors. I, I was lucky enough to study with Ron Leibman1 (30m 42s):Who he, more,7 (30m 44s):Ron originated the role of Roy Cohn in angels in America. He was Rachel Green's dad on friends. He and studying with him was really a gift. I mean, and he, you know, I mean, he had done what you want to do as an actor in his career. He had Tony, can I curse? I really, You know, he had a fucking Tony. So there was no, I think sometimes with acting teachers, there is an ego part of it where they, I don't know, they want to mold you or they're frustrated and they haven't done what they want, but he had done everything that he wanted to do.7 (31m 27s):And so really he was just in it because he cared about young actors and he was tough, but he wanted you to be the best artists you could possibly be. And so that was such a gift that there were lots of professors that I really had a wonderful experience with there. Casey Biggs was my classical technique. Like Shakespeare professor. He's wonderful. He was, he's a star Trek actor. If you don't know, the Saifai world gets a lots of Shakespearian actors because they have to3 (31m 58s):Make7 (31m 58s):Sense. You know, they have to take this ridiculous material and make1 (32m 3s):And make it accessible.7 (32m 6s):Right.1 (32m 7s):So for people that don't know, obviously the new schools in New York, did you audition? How was that?7 (32m 14s):Yes, I auditioned. So it, yes, it's in New York city. It used to be where the actors studio was. And then there was this gray Bradley Cooper went to my grad school at the time that the actor's studio was still attached. And then there was this big schism actor studio went to pace. And then the new school had its own drama program run by Patty lipomas brother bobble poem. So he was the Dean1 (32m 44s):Of the school at your school?7 (32m 46s):At my school. Yeah. Bobby Lou. And so, yeah. So the audition process was I actually, they asked you to prepare a scene. So you had to find a scene partner and do a scene rather than just a monologue, which was cool. So I had a friend of mine come with him. This is funny. And a friend of mine come and do a scene with me. I did a scene from a play that I hate, but that I felt like would make me appear marketable. I did a scene.1 (33m 17s):Yeah.7 (33m 17s):I did a scene from fat pig, which,1 (33m 19s):Oh, no,7 (33m 21s):But Hey, I got into school with it. So1 (33m 23s):Yeah. You know what I always say about that play? Like I actually know Neil LaBute and that guy's a Dick. So, I mean, I've met him. I wouldn't say know him. He directed did he direct, he directed Wicker man, that my boss Nick cage, was it the second time UN he's got problems. He's a, he's like a Mormon, he's got problems with his own body size. I think as a, as a plus sized dude, he's real weird. He's real weird. But anyway, I always say about fat pig. It's like, I am always rooting obviously for the actress that takes on that role.1 (34m 6s):Especially as a plus sized lady, I'm like, yeah, you go. And, and we think, God, I hope we're writing better plays in that, but you know what? It's not the actresses deal that is doing it so good for you. So you did a scene from that pig with your friends,7 (34m 22s):And then he got asked to audition for the school himself and he got into,1 (34m 30s):I'm glad you both did because you didn't.7 (34m 33s):I know it would have been nuts. So, so we do the scene and then we find out what happens then is something called callback weekend. And I actually, I have to say, I think that the new school at that time, because the training has completely changed at the school now, since I've graduated. But their audition process was the best that I ever experienced because, and by the way, I auditioned for graduate schools, like on three different occasions. And when I auditioned for the new school, it was like the last gasp. It was the only school I applied to that season. Like I was like, I'm done with this. I'm going to open it.1 (35m 11s):No one, no one accepted you the first times. Right. Mad at them.7 (35m 17s):It was really awful. But are you1 (35m 19s):Fucking kidding me? Okay. All right. So they, you were like, fuck it. This is the last hurrah. I don't get it here. Okay.7 (35m 25s):Yeah. So the only school that I applied to that season, so you do your scene and then they have something called callback weekend where it's a whole weekend. You go and it's a surprise. You don't know what's going to happen. You go. And they have, because part of the core of the training and the new school is having playwrights directors and actors create new work together, creating your own work is a big part or was at that time a big part of the training program. And so you had to put together, we were put in groups and we put together a short play in 24 hours. And that was our, our callback.3 (36m 6s):I mean, that sounds really stressful, but also really7 (36m 8s):Fun. It was so fun.1 (36m 10s):Did you write the play,7 (36m 12s):The playwrights? Did they1 (36m 14s):Right? Yeah.7 (36m 15s):Yeah. At some point too, I did have to do two monologues and I cannot remember when that happened. I think, I think, you know what it was. Okay. It was callback weekend. I had to go and do my two monologues and do like a movement workshop. And then you found out, okay, you've made it now. You're the last round and you're doing a 24 hour play. Yeah. And so, yeah, it was really fun to be honest with you. It was good.3 (36m 42s):Yeah. I bet it was. So what about for undergrad? Were you also doing theater and under?7 (36m 48s):I did, but I didn't get a BFA. I got a BA at UMass at the university of Massachusetts Amherst. They actually have a beautiful theater program there. I had a great experience with them.3 (37m 1s):Yeah. And what was the impetus to go to grad school?7 (37m 6s):I had always, I mean, since I was a small child, like four years old, I've wanted to be an actress. I always, and I'm not, I'm not, I'm a theater nerd. Like I always wanted conservatory training. My family historically was not supportive of this. I really wanted to get a BFA and they didn't want me to do it. And so I ended up going to, you know, regular school, regular school and just getting a BA but studying theater. And so I had always wanted to have the experience of conservatory training.7 (37m 45s):After, after I got my BA at UMass, then I did a, like a training program with the Moscow art theater kind of connected. Cause I had applied for art. Didn't get in. But then the Moscow art theater reached out to me and they were like, Hey, we do this summer program. And we also do a winter program in Moscow. So I did both of those things.1 (38m 9s):Awesome. Yeah. They tell you my art story.7 (38m 12s):Oh yes, please.1 (38m 13s):Dude. I was a fucking idiot. So I, I was at taking a leave of absence from the theater school at DePaul. And I was at, I was at Shakespeare and company on the east coast. I was working there, but anyway, I thought, oh, this is a great time to audition for Harvard.7 (38m 28s):What?1 (38m 30s):I don't know what I was thinking. Like DePaul was fine. Like Harvard, like air chief was actually going to be better. But anyway, I mean, it's all the same once you get there. But so I thought, let me just audition. Sure. I had, usually I have two monologues. I had one monologue. Sure. I was also young and you didn't3 (38m 49s):Read the,1 (38m 52s):I did not understand the assignment. So I show up at a party and I'm do my monologue. And it went really well, even though it was probably a totally ridiculous monologue. It was above my head and the person the woman goes, that's great. And then I just stopped. Right. Cause I didn't have another monologue. And I said, and they said, do you have anything else you could show me? And I literally said no, but I could tell you some jokes.3 (39m 21s):See, I know it's a great idea. I think that was a great, I mean maybe he didn't know her that well, but I like,1 (39m 28s):And it was the truth and I, and they, she looked at, it was, it was, I did not get in there and I think they were all like what? She was like, what I, it was, she wasn't that I was on drugs. I wasn't, but she probably thought this child is on drugs. Like that's the only answer. So anyway, I don't know. But also they closed so no longer around. So you, okay. So you, so you did, you went to Russia?7 (39m 51s):I did. I went to Moscow and I studied like one of my teachers that I stayed with her father was Stanislavski student. I mean, it was crazy1 (40m 2s):My, oh,3 (40m 3s):Tell us everything about that program. It sounds interesting.7 (40m 6s):And I mean, considering what's going on, it's so sad in the world, but I always will hold my experience with the Stanislavski summer school and with it's my hot mess, Moscow art theater, very, very close because you know, I think as actors, NSX and students, we are delicate creatures and our confidence in ourselves and in our instrument and in our own talent is very, very delicate at all times. You know what I mean? And it really studying with them really made me fall in love with the theater and ma built me up and made me feel like, oh, this is what I'm meant to do with my life. And it just was because again, these, you know, the Russians, they, they don't give a shit.7 (40m 53s):They're all about the art. And they care about you as a, an artist. And1 (40m 59s):Did they not? Can I just say, were they not? Were they inclusive about body sizes? Oh, see, this is my problem. It's like what kid? Anybody fucking, not even in Moscow.7 (41m 11s):I mean, listen over there. It's definitely. But what I will say is my experience in classes and stuff, they just expected me to do it, you know, like,1 (41m 21s):Right.7 (41m 21s):My, my Grotowski admire hold biomechanics teachers. They were like, okay, now you will do backbend. You know? And I would just wouldn't do it. And it was like, okay, Catherine, now you will. You know what I mean? And so, and I, you know, I, we had this one teacher who re actually recently passed away. He was the most wonderful man. His name was Misha and Misha taught Michael checkoff technique, which I had never studied before I studied with them. And he was a lunatic, but like in the best, most beautiful way he would do this, this game with us called I love myself where, where he would have us run around the room, like crazy seagull.7 (42m 10s):And then while we're running around the room, like crazy seagulls, he is humming the theme to the godfather. So he goes,1 (42m 18s):It's fantastic. It's like what I did in my day program in therapy.7 (42m 24s):So he's going up, up, up, up, up, up, up, up, and then he'd clap his hands and go number one. And you had to hug yourself and he goes, I love myself. And then he'd clap again. And then you have to run around again and he'd go bump up, Clap number two. And you'd hug someone and he'd go, I love my friends and Cutest. And like, he, I don't know, it was, it was a lovely experience. And I got to do Google. I was in a Google little, oh, Hey, I was in the inspector general. And I just felt seen by these teachers3 (43m 5s):Randomly, I don't know what the connection is, but they're in my town, which only has 30,000 people in it. There's a Michael checkoff like festival. Oh, I don't know if he lived here or I I'll have to look into it more Connecticut.7 (43m 24s):Is that because my grad school, Michael checkoff technique, professor Ragnar fry dog does a maybe1 (43m 34s):Greta. Steve. I bet it's gotta be connected. Ragnar and fry. Duncan7 (43m 38s):Connect,1 (43m 39s):Cover all connected.7 (43m 40s):Yeah. It might be. It might be there. It's somewhere up. I don't know. It might be,1 (43m 46s):Are you in New York city?7 (43m 47s):I am. I am in the city. Okay.3 (43m 51s):Okay. So you didn't feel prepared once you graduated. So what did you do?7 (43m 56s):Well, one thing that the new school, like I said, that they did, that was great. Was they taught us that we have to make our own work, which I think is true. I mean, I think, you know, and you know, I just been through this experience where I had to plumb all of this personal trauma to, you know, being in front of your friends to be an actor. I don't know. And there was a crisis in my family and I ended up using it and applied for an artist residency with Mabu mines. I don't know if you guys Mabee mind says1 (44m 33s):I don't, what7 (44m 34s):Is that? So Mabu mines is a theater company. That's been in New York city since like the sixties, seventies. And they're very experimental run by who has since passed away Ruth Mela check and Joanne Akalaitis and Lee brewer. Who's also, so they they're really into cookie, like experimental crazy theater. And so I got an artist residency with them right out of graduate school. And for a year developed my own place,3 (45m 5s):Something where you had to write a proposal about what you would be working on there. And, and you're, so you wrote something that was informed by a terrible thing that happened to you.7 (45m 15s):Okay. And so, yeah, I wrote a few3 (45m 17s):Minds saying anything about,7 (45m 21s):Because I wrote a play. So yeah. So I come from a very chaotic family. There's just all kinds of craziness. Always my father, who is much older, he was a doctor for nearly like 50 years, maybe 50 years. And he had this huge practice in this like shitty Podunk, back ass words, town and Florida. And he's very eccentric. He doesn't make friends, he's not politically savvy and was employing really ne'er do Wells to run his office.7 (46m 4s):And one of his nurses was writing counterfeit prescriptions1 (46m 10s):For opioids,7 (46m 11s):Opioids. So the, the, what is it? The DEA shut down his office and conducted an investigation for over a year while I'm in graduate school. This is going on. And then D couldn't get him on running a pill mill because he wasn't, but got him on insurance fraud, which I will tell you, actually, something that I do have done in the past no longer, but for a survival job, I've worked as a medical secretary. Every doctor concerns, insurance fraud and the1 (46m 50s):System, the system is set up for that. What are you7 (46m 52s):Talking about? So at the time, my 77, my in fact, my, was it my third year. Yeah. My third year of graduate school, my 77 year old father went to jail. Thank God he wasn't in there for very long, but we fought, he might be, he was held on half a billion dollars bail. Like it was insane how they went after him. And, you know, it's funny because I've been rethinking the project that I did because I was so fresh out of it. I essentially, I took because as he started me letters from jail, and then I realized he had been writing me letters since I, for like 20 years, he's a letter writer.7 (47m 37s):He himself is kind of insane. Like, he's, I love him, but he's, you know, and so anyway, I took all of that source material and I created a play out of it.3 (47m 51s):Wow. And, and I mean, presented for the public, right. Like people came to see it. How was it received?7 (47m 58s):I think it went really well. I mean, it was my first, you know, I, again, being unprepared, you know, coming out of graduate school, I didn't know a lot about promoting your own work, you know, I didn't know to write a press release and I didn't know to, but I did it with Mabu mines. And then I workshopped it in a few other places. I did it at Dixon place, which is another like incubator you're in the city. And then I did it in residency at the brick theater in Williamsburg. And that was, yeah, that was the last showing that I did1 (48m 30s):A solo show.7 (48m 31s):No, I had a hue. I unwisely had a huge cast. It was like nine all of us. Yeah. But it was like about because I'm from the south originally and it was about my family. And like the stories you tell yourself about your family versus reality versus very, yeah. It was, it was a great experience doing that. So3 (48m 55s):How have you continued to create your own work? I know you have a show, your own show, big girls. Is it called big girl?7 (49m 1s):It's called big girl. Yes, I, yeah. I really do enjoy writing and writing for myself. I think that, yeah, my experience has been more fruitful in writing for myself. Then, you know, the little parts you can get or, you know, yeah.1 (49m 20s):I want to let your, I just want to give you permission to let yourself off the hook for the publicizing of your thing. No, no. I need to tell you that I, when I did a solo show and it went to New York, I fucking paid a publicist $10,000 and they didn't do anything. So, so, so I'm just saying he, they didn't write a press release either and you were out $10,000. So was actually saying you saved $10,000. So you did good. Oh, wait. So Gina asked about like, yeah. So you have big girl is a, it's a, it's a show that is still is an ongoing, is it happening right? The second?7 (49m 56s):No, we, so we did. So the way big girl came around is that I started taking improv classes of all things. I hate improv, but I'm glad that I studied it. And I met my producers there in improv class. And I had written a play about body image and they came to see reading of it. And then we decided to do, let's do something together. We decided to write this web series. And so we, we worked on it from like 2018 through 2019.7 (50m 37s):And it's five short episodes. It's stories based on my life, but heightened about dating and just living as a plus sized woman in New York city, every episode is a different genre. So there's a clown episode, a black and white clown episode. That's episode three, which is my favorite of clowning is my favorite theatrical practice. I think I'm working on a clown show right now, actually, but clowning is my favorite. So what do you3 (51m 7s):Love about it? What do you love about coding?7 (51m 10s):I think that clowning is a way of celebrating your vulnerability and your ridiculousness. You know, I think that whatever makes you feel vulnerable is actually your superpower as a performer. It's the thing that people can see that connects us all to our, you know, terror of the abyss, right? And clowning is such a loving and gentle. Isn't the right word. It's, it's a very freeing way to just celebrate whatever is silly or weird about yourself. And if you can laugh at yourself, it gives the audience permission to laugh at themselves, you know, and it's also just really fun.7 (51m 60s):I, I have this beautiful clown professor, my clown, professor, Jean Taylor, she teaches at the Barrow group and that new school and over the pandemic, she reached out to some of us and was like, would you all like to do some zoom clown sessions? And let me tell you that saved my mental health, my like twice a month clown meeting it.3 (52m 25s):It was a picture of a clown school in zoom.7 (52m 28s):It is, I mean, we would just get into nos and we would do eccentric dance. And, you know, she would just have, she has something called go to my spot, which is like, as your clown, you find your spot. It's the whole thing. And, you know, we just made it work and it was, and we would create little, like a tubes as clowns that we would do for her. And it was, it's just, I just love it so much. It's just a, I don't know. It's like balm for the soul. It makes you feel joy.3 (52m 59s):And this is what happens when people feel left out of whatever's happening mainstream wise, as they go find a, like a little off shoot, you know, where, where any aspect of being different is is okay. Celebrated whatever. I mean, in a way it's like, okay, well, I guess that works out too, even though we'd like to be able to be included in mainstream stuff. Right.1 (53m 21s):Well, I feel like that's how all these theater companies that we adore love were made and then, you know, then it becomes something else that gets commercialized. And, but like, if you think about it, like a lot of, a lot of stuff in life, right. Comes from that. And like, I'm now writing feminist body horror. I know, I didn't even know that existed. It only happened because I just was like, okay, well maybe, maybe this. Okay. Fuck it. And then people are like, no, it's actually a genre. And I'm like, what? So like clowning was like, we can do this thing together and tell these stories. And people were like, oh yeah, that's good. And so then that it becomes a thing, you know, for years and years and years, so, okay.1 (54m 4s):So you, you, are you doing a clown show? Are you developing a solo clown show?7 (54m 10s):I have a co clown and a director and we are putting together a clown burlesque show.1 (54m 19s):I love that.3 (54m 21s):That sounds amazing.7 (54m 23s):It's going to be, I'm really excited. Yeah. It's going to be, we're just at the beginnings, like applying to festivals and things like that. And we're just about to start real rehearsals and1 (54m 35s):Oh, is it a scripted, like how does that work in terms of like, what, how what's your process like for us? So I don't know why I keep pushing you to do solo work. I keep asking if everything you do, I feel like I really need you to do a solo show. Apparently7 (54m 46s):I should do a solo show. I haven't before this1 (54m 50s):Do what you want. I just said, so it's a solo show. So you're doing your clown burlesque show. How do you write, is it scripted? Tell me about that.7 (54m 60s):That is a very good question. We are figuring that out because clown involves a lot of, I don't want to call it improvisation, but impulse it's like, you have to let your in order for it, to be honest, right? The clown clowns are my teacher put it this way. They're like cretins. They're very, they're there. Everything is very simple and they're idiots, but experts at the same time and you have to leave room for the unexpected. So our tactic right now is we're going to have a, a loose, an outline, like beats that we want to hit, let's say, but then to leave room for our clowns to play and do what they want.3 (55m 47s):I'm kind of curious about this thing you said about improv, because I also have the feeling that I hate improv, but only to say that I hate doing it, but actually if I was good at it, I wouldn't hate it. So what do you hate about it?7 (56m 2s):I am also not good at it. I get too, too in my I'm just not good at it. I get too in my head. I'm like, why are there so many rules? Why can't I ask questions? Why can't I just come up here and have fun? Why does there have to be a, what does the Harold, why do I have to go back to see the,3 (56m 22s):I mean, think that like, this is all just because a bunch of guys made up improv, right? Like what would it have been like if it was a bunch of women who, who developed the art,1 (56m 35s):It would be clowning and it would be, it would be something more beautiful. I mean, I just think the culture of improv is such garbage and I happen to love improv. I love, love, love it, but I love it because I'm scared because I do feel like you can do no wrong and improv, especially at like an improv audition for commercials and shit are my jam because there's no things to memorize and, and, and to be serious actors and not fuck anything up, but that does crossover into yeah. It, if you're in a culture and improv like school, the culture is there a lot of rules and there are a lot of stuff.1 (57m 16s):And also to be fair, you know, to be, or to be honest, there's a lot of drinking. There's a lot of drugging. It's just not my scene. And it's also really like a 22 year old white dudes see3 (57m 25s):Very fresh, very fat frat life,1 (57m 28s):But okay. So go ahead.7 (57m 30s):Wait, where was1 (57m 31s):I? Oh, no, it's me. I was just saying, go ahead. Either one of you. Cause3 (57m 36s):Well, I, I, I can't actually bring us back to what we were talking about before, but I can ask you, does new school do a showcase at the end? Can you tell us about it?7 (57m 48s):Sure. So it was, we did our showcase at playwrights horizons. We worked on our scenes for a semester and there were a lot of us in my class. So I got into graduate school, like at a time when people like right after the oh eight recession. So tons of people were applying to graduate school and they let 35 actors into our class. And so that was a big, obviously a big issue all through my graduate experience was what do we do with all of these kids?7 (58m 36s):There were, I think at least a good 10 people in my class who had no business. Like they just shouldn't have. And there were people who graduated from the most expensive. The, my school debt is so ridiculous. It's imaginary. There were people who graduated from my program who never stepped foot on a main stage.1 (58m 56s):We, why is it so fricking expensive? What's happening?7 (58m 60s):I it's the new school. I don't know. But yeah, it's the most expensive,1 (59m 5s):Never we're up. We've heard this before, by the way, at other schools Where the people never, there were people that graduated, maybe not an MFA, but like, there are people that graduated that were never in a show and I'm like, okay,7 (59m 19s):I would have, yeah. I,1 (59m 22s):Why weren't they at a show? They never got cast or7 (59m 24s):They didn't get cast.1 (59m 26s):I give him like a pity part. Like you're going to be Cinderella's step sister. And the,7 (59m 31s):I mean, they would be like in the chorus of something1 (59m 34s):That would have been me. That would have been me. I know it would've been3 (59m 38s):Me too. Me too, but was it for agents? And the showcase was for agents.7 (59m 42s):Yeah. Agents and managers. And I did two scenes from bridesmaids because bridesmaid said recently come out. So I did the airplane scene with, and then I did her, her monologue at the end about being in the CIA. I just love. And it probably wasn't wise of me to choose scenes from what, but I was like, fuck it. This is what I wanna do. I worship Melissa McCarthy. I think that she's I, if I ever met her, I would absolutely lose my mind. I just think she be,3 (1h 0m 13s):I think that was the perfect thing to do because right. Because the, the, the thing that bothered, I are always talking about that we never got is that we were supposed to think of ourselves as, you know, to be crass, like a product and what, you know, so what is our brand and what, you know, and we never did that, but that is what is required. So why is it not good to have done the Melissa McCarthy?7 (1h 0m 36s):I guess maybe I think you're right. I maybe I felt like I should have shown more range.1 (1h 0m 42s):They're not looking for range. Let me tell you something. They're looking to look at you seriously and now be in LA. I can really tell you looking at, oh, oh, she knows. She, she, she knows that we think she's going to be like the Melissa McCarthy character. Great. So let us just all get on the, the Melissa McCarthy bus with her, and then we can sell her that way. And maybe we'll all make a lot of money and be rich. Now look, I'm not saying that's a good thing. I'm just saying it was smart in terms of a business move. And please tell me you got an agent. Did you get an agent and a manager?7 (1h 1m 15s):Ah, I, I got one agent who freelanced with me for a minute and he sent me on two auditions in three years.1 (1h 1m 31s):Okay. All right.7 (1h 1m 32s):So1 (1h 1m 33s):Not good, not good.7 (1h 1m 35s):And that agent, I mean, I,1 (1h 1m 38s):What,7 (1h 1m 39s):He, it just,8 (1h 1m 41s):Eh,7 (1h 1m 44s):I'm worried because why?1 (1h 1m 46s):Okay. Let me tell you something. Let me tell you something. This is not about him. This is about your reaction. You don't have to, obviously don't say the name, but this is about your experience of what it was like to be that age and work with is someone in the industry. So tell it now.7 (1h 2m 2s):Okay. So from that point, yes, from that point of view, you know, number one, it, you know, I, I had one really solid audition. I didn't book it, but it was my first big audition in a big room. And I went in and I was prepared and I killed it. And I remember, oh, at PA, oh, oh wait, okay. It's back. Oh, you're1 (1h 2m 24s):Fine.7 (1h 2m 25s):Okay. Like froze for a1 (1h 2m 26s):Second. That's okay.7 (1h 2m 29s):I went in and it was Judy Henderson's office. She's a casting director. I killed it. And I had them all laughing. And I remember I walked out and I heard the director say, oh, that was really good.1 (1h 2m 43s):Yes.7 (1h 2m 44s):So that was such a win right out of an acting program. You know, I didn't get a call back. I didn't book it, but it was such a great, you know, experience. But then after that, and I emailed my agent to say, Hey, this was so great. This is what the people said, send, thank you, notes, all of that. But he like had this Facebook group for the members of the agency and he would have these mixers, Which, and I went to one and it made me so uncomfortable because it was like him. And then a bunch of like women, you know what I mean?1 (1h 3m 23s):Yeah. It's gross. That's gross. I don't know who you are, agents. So it's not a personal thing, but also that's gross.7 (1h 3m 29s):Yeah.1 (1h 3m 30s):It's weird. That's weird.7 (1h 3m 32s):And like also something that made me super uncomfortable would be that there would on the Facebook group, he would put up these statuses, like, you know, a word to the wise, never write an email to an agent like this deducted that dah, dah, and don't show up to an audition doing blah, blah, blah, blah, blah. And I just in my head, I'm like, why don't you go get me an audition instead of spending your time? And like, there is no roadmap for young actors. None of us know what the fuck we're doing.3 (1h 4m 4s):Well, let's do mystify something right now for people who haven't gone through this yet. Why do some agents not get auditions for their clients?1 (1h 4m 16s):Oh, I know. I feel like, I feel like for what my knowledge is of working in casting and then also working as a writer and an actor, is that agents. Okay. So like, this is my understanding. All agents get the same breakdowns, right? And a lot of times for better, for worse they're thinking is I need to, I can't possibly do everything on this breakdown. So who are the people I know that are gonna, for whatever reason are top of mind that are gonna, that have a better, good chance of booking these things. And then they sort of gravitate towards that. And then a lot of people who aren't, don't look a certain way for whatever, get pushed to the side.1 (1h 5m 2s):And then I think we're also not as actors at our schools and in the world taught how to have a relationship with an agent that is on equal footing so that you stay top. This is what I teach my kids at the theater school, which is like how to build a relationship or get out of one. When you feel like it's not on equal footing where you can't, you don't feel like you can call or email the agent and say, Hey, I'm feeling like I'm not going out. Is there something that we can do together? Because we're so scared of the agent. We never make those, but I am. I think that is what happens.1 (1h 5m 43s):And then the fear begets fear. And then you just never hear from them again. Then they drop you or whatever. So it's a matter. So that's what happens. And, and agents, a lot of times, like the rest of us are traumatized and hurt and scared. And, and it's easy to take that shit out on younger people.3 (1h 6m 3s):So it's not what I was thinking. You were going to say, which is that if the agent is unknown, they literally cannot get their client. Okay. It's not that,1 (1h 6m 15s):I mean, I feel like they, I feel like S H certain agents have better relationships than others with casting, but everyone gets the same breakdowns. It's, it's a, it's a common document. So anyone, if we, if you, and I said, now we're an agent. We would get those breakdowns and we could start submitting people. And if you send a kick ass letter that says, Hey, Catherine is perfect for this. Look at our shots. Please see her, they'll see her because they want, Cassie wants to meet new, new, fresh faces that are kick ass. Like that's their jam. So, yeah, it's a matter of top of mind. And3 (1h 6m 49s):Well, since we're on the topic, I don't know. You mentioned this thing about getting a good relationship with your agent CA well, so Kevin, do you have an agent now?7 (1h 6m 57s):I am. Now I am looking for representation right3 (1h 7m 0s):Now. All right. You're looking for representation. A lot of people who listen to this podcast are recent graduates from theater school. I have my only experience with an agent is I'm helped my son with his stuff. And so I'm, I have a relationship with his agent. I'm very scared of this person. And when he doesn't like something we did just on my stomach. So like, what, I mean, you know, what, what do you do and how do you have a good relationship with an agent? Because it seems like they're all the hassle.1 (1h 7m 31s):No, no, they, they, it does seem like that. They're not all assholes, but I feel like a lot of them are, are scary. So inherent and Gina, Gina talks about this and Catherine, I want to know your thoughts. So, so we talk about the idea that like inherent in this industry is a pear is a patriarchal and like a, a status, right. Triangle, whatever hierarchy. So that creates a dynamic where the people that have, are seemingly having the more power are, are, are a little bit mean. It can be a little bit mean. So Catherine, how do you think, I guess my question for you would be like, what is your, maybe your experience with how to work with that and what are you looking to do differently this time when you have an agent, I guess, for the youngsters7 (1h 8m 15s):Listening? So my experience with them being mean, Or I just think that there is a, in my experience, there has been a feeling of being dismissed perhaps of, you know, yeah, yeah. You know, I do a lot of in the past, I've done a lot of there's this company here in the city called one-on-one, which there's another one that's called, like actor's connection where you can go and it, it kinda sucks. It's pay to play and you pay like a little fee to do a class with a casting director or an agent, or, you know, an opportunity for like a 10, 15 minute meeting with an agent.7 (1h 9m 2s):And I have met some success with that, you know, in the past, I don't necessarily, I feel a little morally repugnant about pay to play. You know, this is such a, I mean, the other thing along with the hierarchy of this industry is that it's predatory, you know, it's very predatory on the hopes and dreams of, you know, young actors. And so I have had tons of experience going into auditions for things. And, you know, it's like, oh, you have to pay to do this, or you have to it. And it's like, okay, well, fuck you, bye. I'm not going to pay you to work. But, and then what was the second part of your question about, oh, what am I looking to do differently?7 (1h 9m 45s):I mean, I think the thing is right, I'm a character actress. I'm a misfit, certainly in the industry. And I need to find someone who really gets me, gets my work. You know, I want to find representation that isn't necessarily trying to, and this is perhaps an unrealistic dream, but I, I would like to find representation that that gets my voice as an artist, and doesn't necessarily want to pigeonhole me. You know, for example, I will never, I'm very into body justice and fat liberation.7 (1h 10m 30s):I'm not gonna even say body positivity anymore because it's been co-opted by a skinny white women, but I will never make a weight loss, commercial that's not happening. And that might be a problem for a commercial agent who meets me, you know what I mean? And so I, so yeah, I, I would like to find a team who, who gets me and really, you know, wants to, wants to see me succeed in that, in the, in that way,3 (1h 10m 59s):This relates pause to our conversation earlier, just about contracting versus expanding. And I think that my mindset for certain, and maybe other people too, is like, you know, it's like kind of like how I used to be with boyfriends. If, just, if, if anybody likes me that I have to go with them because there's not going to be anybody else that likes me. Right. When in reality, It seems like the, the way to think about it is, oh, they need me because I know what I'm doing. And I have this look and I've seen people who look like me in this kind of thing. And there'll be lucky to find me because I can solve a problem for them.3 (1h 11m 40s):That's not how I've ever thought about it. I've thought about it. Like, I hope they pick me, but they probably won't. So if anybody shows me any attention, even if I have to pay for it, then the bus. Yeah.1 (1h 11m 50s):I mean, I think that's so right on. And I will say that. And I, I, I was that way for, and I still am obviously that way, but I found a team. I love my team, but it took me a very long time. And it took me to 40, I dunno, 44 to do that or 43. And it took me going in literally and saying, this is me, here's my body of work. I look like this. I want, I came in, I went in with a list of things in a piece of paper and what I brought to the table and what I expected from a relationship.1 (1h 12m 35s):And I had to be prepared that they were going to say, no, thank you. Like, this is crazy. Fuck you. But they didn't say that instead. They said, we, we support you. We've looked at your stuff. We believe in you. And we want to work with you. And that was all right. And then I found my person at that place. And when she left, I followed her. So it really is about relationships, but it's like, it takes a long check. My therapist, this, it takes a long time to do the work. Like it is not an overnight

Chai with Rai (Ep.24). In conversation with Daniel O'Meara where we sat and discussed his tremendous 25+ career in acting and over 40 movies. For films such as "Here Lies" with Christian McKay,  award wining film "Under the Skin" with Samantha Morton, "Deadly famous" with Eric Roberts "Ironclad" starring Brian Cox, Jason Flemync and Paul Giamatti,. Daniel is truly a mesmerising actor to watch and a great director to be around.   Daniel also coaches and directs and focuses his 40 years of experience into Actors Crib. Actors Crib are drop-in workshops. Designed to develop, challenge and inspire actors. These classes will improve an actor to their full potential. To be fighting fit for auditions, and confident in a range of roles. 'To be the best they can be'. PS they are global too. Daniel also works on Zoom with students Internationally and in person for classes and workshops in London. So wherever, you are I would say give Daniel a line.    We discussed all things industry from his credentials, to acting methodologies such as Meisner, Grotowski, Alexander, to the business of the industry, the nepotism that surrounds the industry, our egos, the digital space and so much more. To watch the full episode: https://youtu.be/gaIyxvdiViI  Social: Myself: https://www.instagram.com/chaiwithrai_/  Guest: https://instagram.com/actorscrib & https://www.instagram.com/daniel_omeara_/  Links: Myself: https://linktr.ee/raimuitfum  Guest: https://www.actorscrib.co.uk   Hope you all enjoyed it and Thank you for tuning in. To Subscribe, share, follow my work and everything else is listed above.

Open-Door Playhouse is proud to announce the opening of SANTA'S SECRET. Written by Fabiana Medici and directed by Bernadette Armstrong.  Starring Elaine Mello as the narrator and Gary Lee Reed as (Boy/Santa).The Open-Door Playhouse is a 501c3 organization.  Its theater podcasts introduce and showcase new plays, new writers, and a wealth of unknown talent.  These podcast episodes are FREE to listen, and download, and your donations are greatly appreciated.To contribute your tax-deductible donations, please visit  www.opendoorplayhouse.org/donate.Theater Reviews From My Seat's Play Review for Replacement Player and The Christensen Brothers: https://bit.ly/3FH46Gl Writer,  Fabiana Medici has 25+ years of experience as a writer, director, acting coach, and educator within the entertainment field. She began her career acting on the stage at the age of 14 in renowned theaters such as Teatro San Martin and Teatro Presidente Alvear in Buenos Aires, Teatro dell' Opera, and Teatro Ghione in Rome, Henry Fonda theater, and Lillian Theater in Los Angeles, and toured various cities worldwide. Fabiana also studied and worked in the art of street performance throughout Europe. She has trained both novice students and professionals alike. Fabiana has extensive experience working with children and adults from different cultural and social backgrounds including those with special abilities and needs. Fabiana has taught children in several schools in Los Angeles, such as the Westside Waldorf School, The Realm, and Star Prep Academy among other schools worldwide. She has studied extensively including Method Acting, Stanislavski and Grotowski techniques, jazz dance, yoga, acrobatics, clown, Waldorf education, Reggio Emilia approach, nonviolent communication education for children/teenagers, and healing arts around the world. Fabiana loves to see her students shine and is devoted to guiding them to their highest potential with love and respect towards their artistic goals. Her coaching style embraces a holistic approach that reveals the “big picture” within and beyond any technique, focusing rather on leading the actor through a journey of self-discovery of their artistic uniqueness and voice. Fabiana emphasizes respect for the Art, the Artist, and the humanistic experience through a training full of wonderment and creativity.Director, Bernadette Armstrong, moved to Los Angeles to work in film in the late 1990s and after her first two films went to festivals she took a short hiatus from writing until she fell in love with small theater. Since 2008 she has had several successful theater projects produced in No Hollywood. Her play The Reading Group was named Pick of the Week by LA Weekly Magazine and in 2017 her play Simple Lives was nominated for Outstanding Writing of an Original Play or Musical by the Valley Theater Awards (the only woman nominated.) Bernadette is also the producer and founder of Open Door Playhouse Podcast!Support the show (https://fundraising.fracturedatlas.org/open-door-playhouse)Support the show (https://fundraising.fracturedatlas.org/open-door-playhouse)

Lisa Wilcox is back acting full time after raising her boys and married to corporate world for a couple decades. Born and raised in Missouri, she has performed in over 100 film, television, commercial and theatre productions. Lisa started her career in Equity Waiver theatre then completed her Bachelor of Arts degree at UCLA while also studying Grotowski. She has always been serious about exploring how to express a character to full believability and thus hopefully touch the audience indefinitely. For her, making this impression is all that matters. Though Lisa may be best known for Alice Johnson in “A Nightmare On Elm Street 4, The Dream Master” and N5, The Dream Child, the other characters she has played in her career run a full gamut – from nuns to prostitutes. Her agent quotes, “A true chameleon actress.” Let's not also forget her role as Yuta on “Star Trek, The Next Generation.” Rather infamous as the “Assassin,” Yuta is a “property” on the Star Trek, The Next Generation Monopoly board. Lisa recently completed “The Watcher of Park Avenue” and “The Quiet Room.” Her next projects include a feature film “The Possessed,” New Orleans 2017, “The French Symphony” and “The Man Who Loved Women.” Today we talk about Lisa's journey into film and what the future holds for her with current projects . We talk about how Nightmare On Elm Street and how it holds up against modern Horror . http://lisaewilcox.com

La maldad es como un poema que suena a tragedia, sin coros griegos.

Intro: the coolest thing about crows, Bexley, fear of flying, Inattentive-type ADD Let Me Run This By You: Avoidance, becoming conflict-curiousInterview: We talk to Jason Denuszek about Pinnacle Performance Company, theatrevolution, TimeLine Theatre, Grotowski and Poor Theatre, Woyzeck, Northwestern Cherubs, ComedySportz, Pirandello, Piven Theatre Workshop, Laughing Wild, Diary of Anne Frank, The Seagull, The Search for Delicious, Chicago Shakespeare, Rose Rage, The Actor's Gang, 

I Walkadelici Stefano Ferrari e Ale Porro intervistano Valentina Giro, assessore alla Cultura del comune di Rho. Si parla di Aperture, dell'iniziativa destinata ai giovani Outdoor, del nuovo teatro di Rho e di tante altre cose (tipo Skate, Calisthenics, Grotowski etc.) A proposito il 20 giugno 2021 i Walkadelici saranno presenti alla Maratona di lettura che si svolgerà a Rho in villa Burba. Essi leggeranno, suoneranno e ovviamente cammineranno! Trovate le notizie su Facebook e un po' ovunque. Non perdeteveli! walkadelici@gmail.com telegram: t.me/walkadelici Doremind (@doremind.music) • Instagram photos and videos Doremind | Facebook www.doremind-music.com

Em vários episódio falamos que "o ator é um sábio". Do que estamos falando? O que é transcendência, e o que isso tem a ver com o trabalho do ator? O que nomes como Grotowski, Artaud, Peter Brook, Shakespeare e Goethe tem a ver com isso? Essa é a conversa desse episódio. ______ Coexiste Teatro https://www.coexiste.com.br/teatro - Instagram: https://www.instagram.com/coexisteteatro/ See acast.com/privacy for privacy and opt-out information.

Teatro Laboratorio de Grotowski

Joseph Ahmed is a Philadelphia-based theatre-maker. Joe wears many hats in the theater community which we discuss at length, including actor, director, and most recently playwright. He’s also currently working as an arts administrator for an organization that is helping to provide emergency funding to artists hurting during this current economic climate. For a full transcript of today's episode go to beyondthelightspodcast.com.Mentioned in this Episode[00:03:19] Boston University for Theater Arts[00:05:58] Grotowski [00:10:55] Shakespeare & Company [00:15:06] Philadelphia School of Circus Arts[00:16:20] Bad Quarto of Hamlet[00:31:14] Pig Iron Theater [00:31:24] Jacques Lecoq[00:31:44] Almanac Dance Circus Theater [00:32:15] Tribe of Fools [00:37:26] Young Audiences of New Jersey and Eastern Pennsylvania [00:41:28] Obvious AgencyFollow Beyond the LightsWebsiteFacebookTwitterInstagram

We have a wonderful guest for you today: my previous teacher, translator and actor of The Ilkhom Theatre (among many other theatres) in Tashkent, Uzbekistan, Tyler Polumsky! Our conversation went way longer than expected so we have two parts to this episode!   Tyler Polumsky has worked professionally as an actor, director, producer, musician,  scenic designer, and teacher. He found his true creative voice and artistic aesthetic studying acting and directing with the late Mark Weil at the Ilkhom Theatre in Tashkent, Uzbekistan. During his nearly 10 years in Tashkent, he became the first and only American to work in Ilkhom's Main Ensemble, performing in the standing repertoire and touring with the group to Russia, France, Poland, Japan, and elsewhere. As a Master Teacher in the Ilkhom Theatre School of Drama, he taught acting (M. Chekhov, Stanislavski, Vakhtangov, Grotowski), plasticas (Physical Improvisation and Biomechanics), and elocution (English and Russian). As Assistant Master, he taught Lecoq Methods (masks, clown, buffoonery),  fencing and acrobatics, voice, and theatre history.    Since returning to Seattle in 2012, Tyler has worked with The Seagull Project, appearing in The Seagull, The Three Sisters, and The Cherry Orchard. He has taught with Freehold, presented workshops and master classes at the University of Washington, and taught and directed at Cornish College of the Arts. He joined Akropolis Performance Lab as an Artistic Associate in 2015, created the role of the Bad Angel for APL's production of Ecce Faustus (2016) and is Raskolnikov in Crime + Punishment (2017-18). Tyler prefers the long form, ensemble-driven approach to the craft such as is practiced by APL, which better reflects his roots in the Russian theatre tradition.   The concept of истина / istina / divine or cosmic truth, arose early on in our chat. Istina is the essence of the Ilkhom Theatre's training, its performances, its school and lives in its artists.   We take a deep dive into: the difference between Eastern & Western training systems the importance of energetic exchanges onstage and off the rigorous technical training and experience that is required to access moments of naked, universal truth onstage the late creator of the Ilkhom Theatre, Mark Weil, and his lifelong pursuit of the merging of East & West (and how these worlds danced and collided onstage) seeking out spaces of resonance and how that can be the bridge across cultures  the integral part of the Russian system that's skipped over in the West  the necessity of tuning into the partner   And SO much more!   “It's great to tell a story. It's better to tell a story and somebody walks out of there and it's part of their DNA.”   Take a screenshot of this episode and tag @tolyatolyantolik and @serabanda in your Instagram stories to let us know what you thought of this episode!   Top off your #speechforthestage: a e i o u T D tay-tee-tai-toh-too day-dee-dai-doh-doo   Be sure to put a pin in this conversation and catch us for Part II next week!   Create your dream #actorslife with my FREE energy exercise!   Disclaimer: Your use of the content on this podcast, content on actortoartist.com, content on our social media or content from our email list is at your own risk. Actor to Artist does not guarantee any results from using this content and is for educational purposes only. It is your responsibility to do your own research, consult, and obtain a professional for your medical, psychological, legal, financial, health or other help that you may need for your situation.

¿Cuál es la mejor técnica de actuación que podemos utilizar para nuestro entrenamiento actoral? Growoski o Stanislavski?

Laboratuvar çalışmalarıyla bilinen Jerzy Grotowski, sanat anlayışıyla sadece döneminde değil; günümüz tiyatrosunda hala yoğun etkilerini gördüğümüz bir tiyatro insanı.

Welcome to Part 1 of Episode 6! This time, we take a quick trip across Singapore to Yale NUS to chat with Suvansh all about how Grotowski would probably enjoy the Zoom theatre scene, acting's nature v. nurture dilemma, typecasting and character stereotypes. Stay tuned for the second part of the episode next, where we'll discuss more personal experiences of theatre in a variety of schools and colleges and a certain Yale NUS screentest of Suvansh's that I discovered. Hope you enjoy it!

Maria Wodzinska (“she/her”) Maria began her training at Humber College working with physical theatre practices from the Barba, Grotowski and Lecoq tradition. Later inspired by mask and movement workshops in London at LAMDA with Mark Bell, she continued physical theatre studies and graduated from L’ecole Jacques Lecoq in 2015. Concurrently she studied under Pascale Lecoq in the Laboratory of Movement (LEM). LEM focusses on the language of movement of scenic objects, masks, and object manipulation. Additionally, she has worked with Raymond Bobgan of the Cleveland Public Theatre on physical theatre training from the Grotowski tradition. Her current interest is to develop a blended pedagogy from these two traditions, Lecoq and Growoski, and evaluate their possibilities for applied theatre contexts. This is the focus of her Major Research Project for her MA Studies at York University, funded through SSHRC research fellowship.www.mariawodzinska.com Twitter: @Maria_Wodzy Instagram: mariawodzinskaOliver Jane (“they/them”) Oliver is a Toronto based multi-disciplinary artist, devised theatre director, and theatre producer. Canadian-born, US-raised Oliver Jane began creating and producing original works in Philadelphia starting in 2013. Oliver currently resides in Toronto where they dedicate themself to creating immersive installations and theatrical experiences to address the questions that nag Oliver throughout their daily life. To date, Oliver’s work walks a delicate line between clown, dance, performance art, art-installation and ritual experience. In Philadelphia Oliver has presented work part of Between A Boat and Green Place at Bartram’s Garden, Four Weeks in January, FringeArt’s Scratch Night, INVISIBLE RIVER, and SoLow Fest. Original works include The Gathering of the Mother Moth People; an exploration of ritual and spiritual pursuit guided by some widely naïve clowns (1fiftyone Gallery, 2015), and David & Oliver: Mystic Masters; a collaboration with playwright David Jacobi about their collective experiences as students of metaphysics (SoLow Fest, 2016). Oliver has been Assistant Director for a variety of projects with the Pig Iron Theatre Company (www.pigiron.org), including PayUp! (2013), I Promised Myself to Live Faster (2015), and SWAMP is On (2015), and for director Hinako Arao on her project Milky Way. As a performer Oliver has appeared in Surge Protector (MFA Thesis 2016), David & Oliver: Mystic Masters (2016), Mad Forest (d. Alex Torra, 2014), 99 Breakups (Pig Iron Theatre Company, 2014), The West (d. Alex Bechtel, 2013), and Dinner With Madness(Goat Howl, 2018). Oliver graduated summa cum laude from Drew University with a BA in Theatre Studies, and is a graduate of the inaugural class at the Pig Iron School for Advanced Performance Training and completed a Master’s Degree in Devised Performance at the Pig Iron School/University of the Arts in 2016.www.oliverjane.com Instagram: oliviaoliveryogawww.goathowl.com Instagram: goathowltheatreFeatured Theatre Many theatres and theatre companies that have shut down their productions as a result of the COVID-19 pandemic. A lot of these companies are in desperate need of help to ensure that they can keep their doors open once the current crisis is over, and many are turning to crowdfunding in order to do that. In the coming weeks Stageworthy will highlight some theatres and theatre companies that need your help.Red Sandcastle Theatre The Red Sandcastle is a 50 seat Storefront theatre, in which Anything is Possible! The Red Sandcastle Theatre was created as a place where our theatre community of artists and audiences could get together and share what we do best: tell stories together. Unfortunately, with the COVID-19 outbreak, the Sandcastle has had to shut its doors. The funds will go toward the rent and bills associated with the Red Sandcastle Theatre. GoFundMe: https://www.gofundme.com/f/life-support-for-the-red-sandcastle-theatre

Antonin Artaud was a self-described 'madman' and persistent failure in the theatre... He was also one of the great artistic geniuses of the 20th Century.

Photo Jaimie Baird Natalie Kuhn is a spark of light. As the Executive Vice President and Founding Teacher of The Class by Taryn Toomey, they've pioneered a new movement of spiritual fitness which uses physical conditioning to expand self awareness. Natalie's background includes a BFA in performance from NYU with years of multi-disciplinary movement training including Suzuki, Viewpoints, Grotowski and Committed Impulse. Her Classes are athletic, vigorous, empowering, and suffused with her natural effervescence. She brings her students face-to-face with their own personal challenges; together, they sweat, they dig deep, and they come out energized — discovering how strong they are, mentally and physically. During this intimate conversation we discuss ‘stopping' as a key to self-care, how a good playlist is a wellness tool, and the importance of shifting to a state of conscious awareness in order to return to oneself. This was truly a treat, I love you Natalie! You can find Natalie on Instagram @ThisIsNatalie , and on The Class' website at TarynTommey.com to see her class schedule and incredible upcoming retreats. NATALIE'S FAVORITES: Natalie what are your “keep my sanity” essentials? I have developed a ritual for myself that transitions me out of work and into my personal space - both physically and otherwise. When I leave the office, I use the subway ride to finish up any last text, Slack, or email. Once I'm off the subway, I put my earbuds on, turn on a playlist that is specifically created to welcoming in a softer, more receptive me into being, and when I step into my apartment, I switch the music to the apartment speakers. I light a trillion candles, take a shower, and somewhere between the playlist, the candles, and the shower, I'm back in my feminine, receptive, soft, soothed self.  What's your favorite workout or form of movement? Well, I suppose it's no surprise that The Class by Taryn Toomey is my favorite. I live it and breathe it. It is my vocation.  What is your non-negotiable self care routine or tool? Time in the calendar with my best girlfriends. We don't let our dinner or coffee date end without having the next one on the books.  What's the best beauty/health/wellness advice a parent or family member has given you?  "Do what you need to do to feel prepared for what you're heading off into. Spend whatever time in the mirror as you see fit. But after you leave the house, be with the people you are with, stand in the place that you are, and don't give the mirror another glance." - My grandmama

Simone Spoladori e Giuseppe Paternò Raddusa "aprono" al teatro per ricordare, a vent'anni dalla scomparsa, il grande regista polacco Jerzy Grotowski, di cui parlano con il professor Fabrizio Fiaschini. Per l'attualità, l'ospite è Gianmarco Tognazzi, che parla del suo ultimo film, "Non ci resta che il crimine", da poco nelle sale italiane.

In this bonus episode, you’ll get to hear a song that usually doesn’t leave the thick walls of the Workcenter of Jerzy Grotowski and Thomas Richards in Italy.  If you want to know more about Grotowski, check out our two-part story about him in the episodes SEARCH and CONTINUATION. Keep up to date with SFTEW by following us on Twitter, Facebook & Instagram. And if you like our show, sign up for our newsletter!

After having to leave Poland, Grotowski continued his ground-breaking work in the United States, before finding a permanent home in Pontedera, Italy. There he began work on Art as Vehicle, the final stage of his work at the newly-established Workcenter. This work, based around songs of tradition and objective movements, arranged into performance structures, is done more or less in secrecy, away from the prying eyes of the media and mainstream theatrical world. In the late 1990s, the Workcenter started to show its work to select groups of people, and open itself to the world. Listen to Part 2 of our episode on Jerzy Grotowski to find out for yourself what happened there, and what goes on at the Workcenter of Jerzy Grotowski and Thomas Richards today… You can catch up with Part 1 of this story here. Both these episodes are a Stories From The Eastern West collaboration with the Theatre History Podcast, produced by Howlround Theatre Commons, a free and open platform for theatremakers worldwide, based in Boston, Massachusetts. Follow them on Twitter and Instagram. Like our show? Sign up for our newsletter! Time stamps [01:15] Intro [02:26] Meeting Thomas Richards [04:19] Work on acting and songs of tradition [06:57] Period in the US coming to an end [08:28] Transmission of the work [09:34] Flight to Italy [11:00] Beginnings of the Workcenter [12:30] Who are we? [14:24] Members of the Workcenter [16:00] Sacrifices and controversies [18:06] Performance of The Living Room [22:02] Conclusion [24:30] Thanks & credits Further reading Jerzy Grotowski / biography at culture.pl Thomas Richards / biography at grotowski.net Brief History of the Workcenter of Jerzy Grotowski and Thomas Richards on their official site At Work With Grotowski on Physical Actions / book by Thomas Richards, at amazon.com Heart of Practice: Within the Workcenter of Jerzy Grotowski and Thomas Richards / book by Thomas Richards, at Amazon.com Teksty Zebrane (Collected Texts) / complete texts of Jerzy Grotowski at Empik.com (Polish and Italian only) Jerzy Grotowski / book by James Słowiak and Jairo Cuesta, an excellent introduction to his ideas and practice as a theatre director, at Amazon.com Also worth visiting The Workcenter of Jerzy Grotowski and Thomas Richards / official site of the Workcenter in Pontedera, Italy Jerzy Grotowski Institute / official site of the Wrocław-based institute Thanks Prof. Paul Allain / for talking to us about Grotowski's life, work, and his important influence on the world of the performing arts. Paul is a Professor of Theatre and Performance at the University of Kent and former director of the British Grotowski Project. Maja Komorowska / for sharing with us her experience of working with Grotowski and the Theatre of the 13 Rows in the early 1960s. Maja is an acclaimed theatre, film and television actress. Thomas and Cécile Richards / for giving their time and helping make this episode possible. Thomas Richards is the Director of the Workcenter of Jerzy Grotowski and Thomas Richards in Pontedera, Italy. Cecile is Richard’s assistant and a member of the centre. The members of the Workcenter in Pontedera / especially Lynda Mebtouche and former member of the Open Program Alejandro Thomas-Rodriguez for sharing their experiences. Grażyna Soczewka / for skillfully providing the English voice-over for Maja Komorowska. Episode credits Michael Lueger (Theatre History Podcast): co-presenter Wojciech Oleksiak: sound design, mixing Piotr Wołodźko: co-presenter, script, production Nitzan Reisner: co-host, sole beacon of light Adam Zulawski: co-host, editor

Magazyn "NN6T" prezentuje: Krzysztof Garbaczewski jest jednym z najwybitniejszych reżyserów teatralnych swojego pokolenia, twórcą eksperymentującym z różnymi formami: nie tylko teatrem, sztukami wizualnymi, dźwiękiem, ale także technologiami i rozszerzoną rzeczywistością. Przed otwarciem wystawy artysty zatytułowanej "Badania terenowe" w Galerii Arsenał w Białymstoku, rozmawiamy o tym co dzieje się na styku teatru i sztuki, jak migrują motywy, symbole, metody pracy z różnych obszarów twórczości i nauk o relacjach społecznych. W rozmowie pojawiają się także: Grotowski, Ginsberg, Debord, w tle jest szczyt klimatyczny w Katowicach i odpowiedzialność ekologiczna, a rozmowa toczy się w Teatrze Powszechnym w Warszawie w przeddzień Forum Przyszłości Kultury: http://forumprzyszloscikultury.pl Wystawa: 18.01-08.03.2019 Galeria Arsenał, ul. A. Mickiewicza 2, Białystok Krzysztof Garbaczewski (ur. 1983 w Białymstoku) – reżyser teatralny, autor adaptacji, na podstawie których tworzy tzw. teatralne instalacje łączące performance, sztuki wizualne oraz muzykę. Pierwszy polski artysta pracujący w technologi Virtual Reality. Jeden z najważniejszych reżyserów teatralnych swojego pokolenia. Aktualnie wraz z założonym przez siebie kolektywem Dream Adoption Society na zaproszenie Instytutu Adama Mickiewicza przygotowuje w Nowym Jorku spektakl i wystawę dotyczącą związków poety Allena Ginsberga z polską sceną artystyczną w latach 60. i 70. Rozmowę 7.12.2018 przeprowadziła: Bogna Świątkowska. Montaż: Ola Łapkiewicz. Produkcja: Fundacja Bęc Zmiana www.beczmiana.pl Czytaj: www.nn6t.pl Fot. Krzysztof Garbaczewski: Badania terenowe, 2017, kolaż Krzysztof Pyda, dzięki uprzejmości Gdańskiej Galerii Miejskiej

Jerzy Grotowski (1933-1999) undoubtedly had a profound infl­uence on the transformation of contemporary theatre over the last 40 years. Starting out as a young director in the Polish provinces, he soon realised that for theatre to reach its true potential as a communion between actor and spectator and survive in the age of mass entertainment, the actor should attain complete mastery over their craft. His small group of actors committed to intensive daily training sessions to achieve this, while Grotowski began to radically experiment with theatrical texts in order to achieve his vision. But having achieved international recognition for his ground-breaking productions in the mid to late 1960s, he decided to leave theatre behind and start all over again….. This episode is a Stories From The Eastern West collaboration with the Theatre History Podcast, produced by Howlround Theatre Commons,a free and open platform for theatremakers worldwide, based in Boston, Massachusetts. Follow them on Twitter and Instagram. Like our show? Sign up for our newsletter! Time stamps [00:55] Intro [03:38] The beginning [05:15] A new phase of intensive training [08:16] The rehearsal process [10:31] Out into the world [13:33] Do we need spectators? [15:34] A different direction [17:39] Travels to Haiti [18:11] Dangerous times [19:47] Thanks & credits Further watching Letter From Opole / (1963, dir. Michaela Elstera) short film providing a glimpse into the work of Grotowski's team at the Theatre of 13 Rows in Opole. Only in Polish, but worth checking out for non-Polish speakers nonetheless Further reading Jerzy Grotowski / biography on Culture.pl The Grotowski Glossary / article about his work, on Culture.pl Apocalypsis Cum Figuris / Grotowski's controversial final production, on Culture.pl Maja Komorowska / biography on Culture.pl Towards a Poor Theatre / first published collection of Grotowski's texts, at Amazon.com Teksty Zebrane (Collected Texts) / complete texts of Jerzy Grotowski at Empik.com (Polish and Italian only) Jerzy Grotowski / book by James Słowiak and Jairo Cuesta, an excellent introduction to his ideas and practice as a theatre director, at Amazon.com Also worth visiting The Workcenter of Jerzy Grotowski and Thomas Richards / official site of the Workcenter in Pontedera, Italy Jerzy Grotowski Institute / official site of the Wrocław-based institute Thanks Prof. Paul Allain / for talking to us about Grotowski's life, work, and his important influence on the world of the performing arts. Paul is a Professor of Theatre and Performance at the University of Kent and former director of the British Grotowski Project. Maja Komorowska / sharing with us her experience of working with Grotowski and the Theatre of the 13 Rows in the early 1960s. Maja is an acclaimed theatre, film and television actress. Thomas and Cécile Richards / for giving their time and helping make this episode possible. Thomas Richards is the Director of the Workcenter of Jerzy Grotowski and Thomas Richards in Pontedera, Italy. Cecile is Richard’s assistant and a member of the centre. Grażyna Soczewka / for skillfully providing the English voice-over for Maja Komorowska. Episode credits Michael Lueger (Theatre History Podcast): co-presenter Wojciech Oleksiak: sound design, mixing Piotr Wołodźko: co-presenter, script, production Nitzan Reisner: co-host, ambassador of righteousness Adam Zulawski: co-host, editor

Our special guest is famed NYC acting coach Anthony Abeson who has worked with Jennifer Aniston and countless other well known stars. Anthony's high school summers were always spent in summer stock, acting and directing along with all the other jobs summer theatre required: stage managing, set construction, lighting design, etc. Even teaching surfaced then; his earliest memory is of writing the name "Konstantin S. Stanislavski" on a blackboard in front of bewildered children's theatre apprentices. During his college years at Columbia University he made his off-Broadway debut as an actor and assistant director at the Sheridan Square Playhouse in a repertory theatre whose director first introduced him to Lee Strasberg and the Actors Studio. He was unable to attend his graduation having been appointed by the Queen Elizabeth II Arts Council to serve as a resident actor and director of the Canterbury Theatre Company, in Christchurch, New Zealand, that country's first international, professional theatre, where he worked with actors from all over the UK. As a 22-year-old American it was a challenge to direct actors whose previous director had been Laurence Olivier. Anthony's teaching continued in New Zealand where he also served as director of the Experimental Theatre Laboratory of the Christchurch Academy of Dramatic Arts, the country's first training academy. In the late '60's he began his long collaboration with Jerzy Grotowski, first as an actor at the Centre Dramatique National du Sud-Est in Aix-en-Provence, France, and later, in the early '70's as a participant/assistant in Grotowski's first "Special Project" in a forest outside of Philadelphia. Further collaboration occurred under the auspices of the Instityut Aktora in Wroclaw and Brzezinka, Poland. In 1972 he accepted an invitation to join Peter Brook (former director of the Royal Shakespeare Company) at his Centre International de Recherche Theatrale in Paris, where he participated as an actor in the Centre's exploration of the effect of non-linear language on the process of the actor. The research was facilitated by the deliberate inclusion of actors from Japan, Africa, France,etc. with hardly any common language between them. Instead, during Anthony's stay, the verbal impulse was channeled into ancient Greek and /or bird calls. Texts were supplied by Ted Hughes, Sylvia Plath's husband, a distinguished poet who went on to become the Poet Laureate of England. During the late '60's and early '70's, Anthony started a theatre company, the Ensemble Theatre Laboratory, one of whose earliest members was the wonderful actor/monologist Spalding Gray, whose richly entertaining version of their tour to Missouri of their production of "The Tower of Babel" can be found in his "A Personal History of the American Theatre." During this time, Anthony continued to be exposed to Lee Strasberg and the Actors Studio, becoming one of the youngest people ever to address a special session with Lee. In 1973 Anthony started another theatre company, this time in Washington, D. C. : The Washington Theatre Laboratory with funding from the National Endowment for the Arts and the D. C. Arts Commission. Their training program marked the start of many careers including that of actresses Caroline Aaron and Karen Allen. Selected as a seminal archetype of the experimental theatre movement in America, its archival materials are housed in the permanent collection of The Jerome Lawrence and Robert E. Lee Theatre Research Institute at Ohio State University. Returning to New York, Anthony studied with Stella Adler at her conservatory and joined the faculty of the Drama Department of the High School for the Performing Arts (the "Fame" school) where he first worked with Esai Morales and Jennifer Aniston, among many talented others. Jennifer, who went on to study in Anthony's adult classes before leaving for LA, wrote of one of her experiences with him in Marlo Thomas's book: "The Right Wo...

Det svåra tvåhundratrettonde avsnittet med skådespelaren Rolf Lassgård. Vi pratade om bekräftelsebehov, drömrollen, Hollywood, att sitta i biopubliken när ens egen film visas, fiskaräktenskap, Grotowski, klipprummet, hockey, att vara en sexsymbol, den strukturella sexismen i skådisyrket, Henning Mankell, mental coachning och givetvis om huruvida Rolf egentligen är min pappa. Producent David Mehr Distribution: Acast. (För Android här! Och i App store här!) See acast.com/privacy for privacy and opt-out information.

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis' and ‘Dead Class' (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski's Akropolis and Kantor's Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

The overthinkers tackle the long and storied history of Overthinking. Episode 342: There Were No Pumpkin Spice Lattes in The Poor Theater of Grotowski originally appeared on Overthinking It, the site subjecting the popular culture to a level of scrutiny it probably doesn't deserve. [Latest Posts | Podcast (iTunes Link)]

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