Podcasts about stanislavski

Konuğum tiyatro, sinema ve dizi oyuncusu, seslendirme sanatçısı, eğitimci Tilbe Saran.Tilbe Saran "Meseleleri mesele edinen", çok okuyan, anlamak için elinden geleni yapan, duyarlı, anlayışlı, dinleyen, paylaşan biri. Doğa, hayvan sevgisi gani gani...Ancak bu etkileyici insani özellikleri bir yana Saran, ilk yıllarından bugüne pek çok ödül almış, dünya standartlarında bir tiyatro oyuncusu.Tilbe Saran ile sohbete, antropolog annesi Nephan Saran'dan konuşarak başladık. Çok çalışan bir anne ile hukukçu bir babanın tek çocuğu olan Saran'ın tiyatroya başlayışı, ilk yılları, evliliği-ayrılığı, Cüneyt Türel ile yıllar süren imrenilesi ilişkisi, Kenterler, Dormenler, Şehir Tiyatrosu;, Aksanat Prodüksiyon Tiyatrosu yılları; hepsinden konuştuk.Çok şeyden söz açtık... Nasıl iyi oyuncu olunur, beden-tiyatro ilişkisi, Afife / Afife Jale, tabii ki Stanislavski, tabii ki Anton Çehov, Atölye Portakallık, yaşama iştahı, yemek sevgisi, vejetaryenlik, Harry Potter serisinden Sapiens'e sesli kitaplar, "İstanbulluluk" ve daha pek çok şey..."Tek başına her yer çöldür" demiş Çehov; dinleyerek çoğalmaya bekleriz... Gazeteci#Journalist ~ #Art- #Food- #Travel lover ~ #EnthusiastBooks:

All Your Best Selves: How the Performing Arts Toolkit Can Help You Thrive Anytime, Any Place and with Anyone by J.J.R. Taylor Amazon.com TBCenterprises.com This book is about a new, yet old, approach to how we all engage with our minds and emotions. Through glimpses of the authors life and performing arts career, we can see how closely life and the performing arts can come together. Enough to display the need for all people, performer and non-performer alike, to use the tools and techniques of the fields of acting and improvisation to live richer and fuller lives. These are tools and techniques developed by masters in the craft of understanding how to take apart and put back together the human mind and emotions in multiple ways. Its effects have been proven profound and transformative on the stage. Yet, behind the scenes of life there have been decades of work and research done. In non-entertainment arenas such as education, therapy, the prison system, and children with ASD, parts of the dramatic method have proven to have made a difference and helped in all groups. This isn't about performing, this is about presence, about how we grow and develop our mind and emotions. Mnemonic methods are discussed and how they benefit the actor and non-actor alike. The work of three masters, K. Stanislavski, S. Meisner and U. Hagen are broken down to display how they work in the arenas of acting, then how they can be use by the reader to grow and develop themselves in life. Improvisation is looked at and how powerful it's simple games can be. This is a book about all of us and what we can grow into be, if we chose to use the time tested tools we already have.

“We live in the world we choose, but we have to learn how to make choices.”  We're used to thinking of literacy as reading and math—but what if the missing piece of success in life and business is emotional and mental literacy? The key idea here is simple: we've developed amazing tools to train actors to step fully into human emotion and psychology, and now it's time to bring those same tools into real life. When we can systematically break down a moment and understand our environment, purpose, and obstacles, we stop running on autopilot and start acting with clarity and intention.  James Rojas Taylor brings a compelling case for treating personal growth like a craft—with structured tools and creative exploration. His blend of Stanislavski's acting methods, self-created “suits,” and mental simulations opens the door for building empathy, sharpening awareness, and tackling both personal and global challenges. His insight? Emotional strength isn't born—it's trained, just like a muscle.  James Rojas-Taylor is a U.S. Marine veteran, actor, and author of All Your Best Selves. With over 20 years in performance and a passion for emotional intelligence, he blends philosophy, psychology, and playfulness to offer tools that help people live and lead with authenticity.  Learn more & connect:  Book: All Your Best Selves by James Rojas Taylor  https://www.tbcenterprises.com/about  Konstantin Stanislavski: Is considered the pioneer of modern acting. His emphasis on “living” a role instead of just “performing” it has shaped the acting methods used today. As he developed his acting system, Stanislavsky kept thorough notes, which were later published as a series of influential books—An Actor Prepares, Building a Character, and Creating a Role. These works became essential resources for actor training in both Russia and the United States.  Raymond Aaron has shared his vision and wisdom on radio and television programs for over 40 years. He is the author of over 100 books, including Branding Small Business For Dummies, Double Your Income Doing What You Love, Canadian best-seller Chicken Soup for the Canadian Soul, and he co-authored the New York Times best-seller Chicken Soup for the Parent's Soul. Raymond's latest, co-authored book is The AI Millionaire's Path: Discover How ChatGPT‐Written Books Become Bestsellers and How They Can Make You a Millionaire Author!.  www.Aaron.com

Alex Javo transforms Greek mythology into modern vampire romance in his remarkable debut feature "Ambrogio: The First Vampire." After years of facing typecasting as an actor in Atlanta's film industry, Javo decided to create his own breakthrough opportunity by writing, directing, and starring in a completely fresh take on vampire lore.What separates this indie production from countless other vampire tales is its foundation in ancient Greek mythology and Javo's extraordinary commitment to embodying his character. He underwent a dramatic physical transformation, losing 40 pounds in just two months through an extreme diet where he only ate three days per week. "I wanted to not only look the part but feel what a starving vampire might feel," he explains, drawing on his Stanislavski training. Working with an Italian dialect coach added another layer of authenticity, as Javo mastered not just the language but subtle mannerisms that brought historical depth to his character.Perhaps most impressive is how Javo leveraged his eight years of industry relationships to assemble a dream team of collaborators. This strategic approach allowed the entire feature to be shot in just seven and a half days—a testament to the chemistry and professionalism of the cast and crew. When inevitable challenges arose, from sudden rainstorms to equipment failures, Javo's steady leadership kept the production on track. "I knew if I broke down or got angry, it wouldn't do any good for the environment," he reflects, highlighting the importance of directorial temperament on independent sets.Drawing inspiration from filmmakers like Scorsese and Tarantino, Javo has created something that honors cinematic traditions while establishing his unique voice. "Ambrogio: The First Vampire" arrives on Amazon, Walmart, Fandango, and Voodoo beginning March 11th. Don't miss this debut from an emerging filmmaker who's already planning his next feature—a gangster drama that promises to blend elements of "The Godfather" with "Rocky" for a fresh take on classic genres.Support the show:

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In this scene, we delve into the foundational question: "Why do we direct?” and explore the importance of defining our personal motivations as directors. Learn how understanding your "why" can prevent harm, foster meaningful connections, and guide creative processes. Drawing from concepts like Stanislavski's Super Objective and Simon Sinek's methods, this episode offers practical tools to discover, define, and communicate your purpose in storytelling. Whether you're new to directing or a seasoned artist, this episode is your roadmap to intentional and impactful leadership.

Richard Rushfield sits down with Winnie Holzman, creator of the beloved but short-lived teen drama My So-Called Life, which ran for one 19-episode season from 1994-95 and later became a cross-generational cult hit. The show that launched Claire Danes and Jared Leto also captured adolescent angst onscreen in a totally new way — “School is a battlefield for your heart,” anyone? — that made ABC execs “deeply nervous,” says Holzman, though she was fiercely protected by her EPs and mentors, Marshall Herskovitz and Ed Zwick. A student of poetry and the Stanislavski system, Holzman, in a candid, hilarious and nostalgic conversation, unpacks the emotion and humor that propelled her through multiple 1990s TV successes to the Broadway hit Wicked (she wrote the book of the musical) and its two-part film adaptation, whose first installment is in the Oscar hunt.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Dans ce 7e épisode de Jouer le jeu, une chronique où Annabelle cherche à approfondir l'interprétation en situation de jeu de rôle, on cherche ici à appliquer la méthode Stanislavski au jeu de rôle. ------------------------------------------------------------------- Pour suivre Coup Critique : https://linktr.ee/coupcritique  

What do the Royal Family, Jude Law, Cindy Crawford, and Machine Gun Kelly all share in common? Their perfumer, Azzi Glasser. Azzi, Founder of The Perfumer's Story, is not just a perfumer to the stars; she also perfumes the characters they play on screen. For Jude Law, she created his vetiver-forward signature scent; for his role as King Henry VIII, she created one that smelled like pus. And blood. And shit. Move over Stanislavski. The Glasser Method has arrived. FRAGS MENTIONED: Perris Montecarlo Cacao Azteque, Atelier Cologne Jasmin Angelique, Serge Lutens Santal Majascule, L'Artisan Passage D'Enfer, Agent Provocateur, Issey Miyake, Coco Mademoiselle, Michael Kors, The Perfumer's Story: Sequoia Wood, Mr. Vetivert; Guerlain Vetiver, TPS: Amber Molecule, Rain on Earth; Dior Poison, Giorgio, YSL Jazz, CK Obsession, Cacharel: Anais, LouLou; Worth, Lentheric Tweed, Perfumer's Story C, YSL Opium, Escentric Molecules, Issey Miyake for Men, TPS: Build and Destroy, Rain on Earth, Fig Ambrette, Black Moss, Twisted Iris, Grey Myrrh SHOP: theperfumersstory.com FOLLOW: @theperfumersstory SUBSCRIBE: to the Perfume Room substack to catch the official post show, every Friday!

DIRECTOR'S STATEMENT “For my first feature I wanted to make something interesting, funny, and heartfelt with a real independent film sensibility similar to films I loved growing up in the 80s and 90s. I see the film as an anti-rom com of sorts and wanted it to feel timeless. The casting was crucial to create the tone of the film and the characters that drive the story. The entire cast was amazing to work with. It felt like a never-ending summer camp on set. I hope that the audience is entertained, amused, touched and most of all enjoy the ride before it's over.” Filmmaker Daniel André   FILMMAKER BIOGRAPHY Daniel André is a filmmaker, artist, and music producer born in Cuernavaca, Mexico and raised in NJ, just outside New York City. Mr. André started acting at the age of five and trained in Stanislavski at age nine, working professionally in theater, television, and film throughout his teens. Mr. André studied Film and Media Arts at the University of Arizona and Pima College in Tucson, AZ, and has a degree in Film & Digital Arts. In 2022 under his own Analog 77 Films, Mr. André wrote, produced, and directed RUNNING ON EMPTY starring Keir Gilchrist, Lucy Hale (The Hating Game), Jim Gaffigan (Linoleum), Rhys Coiro (Entourage), Francesca Eastwood (Old), Monica Potter (Parenthood), Jay Pharoah (SNL) and more. Currently, Daniel is working on his next film THE LAST WILL with GMT FILMS, a biopic based on the memoir, “CURED- The Tale of Two Imaginary Boys” by Lol Tolhurst, one of the founding members of The Cure and a biopic about the life of African American author Iceberg Slim.   SYNOPSIS Keir Gilchrist, Lucy Hale, Francesca Eastwood, and comic legend Jim Gaffigan star in a brilliantly quirky romantic comedy about celebrating life and living it to its fullest. Mortimer is an odd but clever young man living a lukewarm existence in California's San Fernando Valley until he receives some life-changing news. Determined to make the most of every day, Mort sets out on a spirited quest to find meaning in his existence and discovers the girl of his dreams along the way.   IG: Written and Directed by @daniel_andre_la Cinematography by @klammer Production Design by @ryan_kaercher3 Property Master @senorschaffer Set Dressing by @msbezu Costume Design by @2undercovertourists   Stay connected with me on socials: https://www.chonacas.com/links/ Leave a 5-star review and share this valuable episode with someone special.

Send us a Text Message.Simon and Lee talk about obsessions and whether or not to talk about them.  Things they discuss: Being discombobulated, Lee's flight being cancelled, more on Simon's cholesterol and the NHS, budget cuts, brief (tangiential) conversation with Jefrey the dalmation, there will be butter (a film starring Daniel Day Lewis), birthday presents and Bob's birthday present registry, Bear (note-taking application), annual subscription services, shitting and kissing balls, putlocker (again), very delayed update on Kamala Harris, Eames House Bird, reading in the pub with a frolleague, articles about Lidar ("light detection and ranging"), Quicksilver (launcher application from back in the day), being obsessed with things, dickhead rabbit holes, sub-reddits, Lee going further than Madonna in his (yoga) practice, teaching classes on Brecht and Stanislavski, Artaud and total theatre, why Simon quit instagram years and years ago, and the sourdough line of conversation (getting high on your supply).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)

This episode Pitchin' Tent takes to the stage to change theatre forever... Join Morgan and Dom as they follow in the footsteps of the greats like Stanislavski and Brecht by developing a whole new style of dramatic performance! Instagram: @spikytrap Check out our Facebook: https://facebook.com/SpikyTrap

Continuing on with Stanislavski's system, we take a look at the magic "if".

The man, the myth, the legend, it's Konstantin Stanislavki and his "system". Let's take a brief look at who he was, in this intro to Stan the Man!

Alexandra Wright is a classically trained actress with a BA from the University of Southern California and an MFA in Acting from Harvard University. She has also trained internationally in London at the British American Drama Academy and at Stanislavski's Moscow Art Theatre in Russia.  Recently nominated by Broadway World as Performer of the Decade, Alexandra has been fortunate enough to perform in London, Paris, Moscow, and Scotland, and has had the opportunity to work with exceptional artists such as Jane Fonda, Lily Tomlin, Josh Brolin, Neil Patrick Harris, Neil Gaiman, Scott Zigler, Kevin Bright (creator of Friends), the Los Angeles Philharmonic, and Nancy Meckler from the RSC.  In addition to her regional theatre work, Alexandra's film and television credits include a series regular on Vertical Network's Solve, recurring roles on ABC and Freeform, and guest stars on NBC, CBS, Netflix, Amazon Prime, and HBOMax on shows like Chicago PD, This is Us, Grace and Frankie, Outer Range, Greek, and Julia. She has worked alongside Shonda Rhimes, KJ Steinberg, and Oscar winners Jim Sheridan, Louis Gossett, Jr, Jane Fonda, and Morgan Freeman.  Alexandra has trained extensively at UCB and has also performed stand up multiple times at the legendary Comedy Store and Flappers. Commercially, she has been the spokesperson for Proactiv and Lenovo computers, has had numerous national commercial campaigns, including Weight Watchers, Osteo Bi Flex, Blue Buffalo, and Budweiser, and has been the voice for brands such as Yelp, Service Titan, and Hop Skip Drive.  Alexandra also produces, writes, and hosts a podcast on Shakespearean classics, cocktails, and casting called Shake Shake Shake. She is a professor of acting, Shakespeare, and voice at UCLA. Passionate about mentoring and fostering community for artists, she also runs an online community for actors and private acting clients called The Delta Acting Community.  Landon Marshall has trained at many studios. However, he did not start out that way. He was all District in Football in High School. Thus him going to college at Maryville College to play football. While there he Majored in History, Minored in Film. He played for two years leading the league in touchdowns and yards. But was unfulfilled.  After dropping out of Maryville, he enrolled at Middle Tennessee State Univ. He was wanting to walk on for football, but found out halfway through the semester his tuition had not been paid. So he left. Working landscaping, construction jobs.  His father passed away in 2011. He decided now is the time. He trained with Alan Dysert, Ed Coupee, Caroline Locorriere. Caroline had the most impact on him. He has worked with Jake Owens, Chris Carmack, Stephen Cragg, Alan Powell, Rodney Atkins, Chris Young, and Robin Williams. Robin Williams last film was BOULEVARD.  Moved to Los Angeles in 2015. Has studied with Warner Loughlin, Alice Carter, Annie Grindlay, and now with Cameron Watson. He has found himself more and more interested in theater. He did community theater growing up, but did not explore it. Now, he has come to realize how theater is so important to the arts. To the art of acting, writing.  He runs his own Golf company that brings people of like minds together. He is a 4 handicap golfer himself. He currently works at Delilah, the hottest nightclub in LA.

Alexandra Wright is a classically trained actress with a BA from the University of Southern California and an MFA in Acting from Harvard University. She has also trained internationally in London at the British American Drama Academy and at Stanislavski's Moscow Art Theatre in Russia. Alexandra has trained extensively at UCB and has also performed stand up multiple times at the legendary Comedy Store and Flappers. Recently nominated by Broadway World as Performer of the Decade, Alexandra has been fortunate enough to perform in London, Paris, Moscow, and Scotland, and has had the opportunity to work with exceptional artists such as Jane Fonda, Lily Tomlin, Josh Brolin, Neil Patrick Harris, and Neil Gaiman. Alexandra's film and television credits include Chicago PD, This is Us, Grace and Frankie, Outer Range, Greek, and Julia. She has worked alongside Shonda Rhimes, KJ Steinberg, and Oscar winners Jim Sheridan, Louis Gossett, Jr, Jane Fonda, and Morgan Freeman. She is a professor of acting, Shakespeare, and voice at UCLA. Passionate about mentoring and fostering community for artists, she also runs an online community for actors and private acting clients called The Delta Acting Community. ▬▬▬▬▬▬▬▬ ALEXANDRA WRIGHT ⌲ IMDb: https://www.imdb.com/name/nm5096181/?ref_=nm_mv_close ⌲ IG: https://www.instagram.com/the_alexandrawright/?hl=en ▬▬▬▬▬▬▬▬ The Moving Spotlight Podcast ⌲ iTunes: https://podcasts.apple.com/us/podcast/the-moving-spotlight/id1597207264 ⌲ Spotify: https://open.spotify.com/show/7cjqYAWSFXz2hgCHiAjy27 ⌲ Patreon: https://www.patreon.com/themovingspotlight ⌲ ALL: https://linktr.ee/themovingspotlight ▬▬▬▬▬▬▬▬ #Shakespeare #Mississippi #Theatre #CameronWatson #Teaching #UCLA #DeltaActingCommunity #USC #BADA #Emmys #TVTime #iTunes #Actor #ActorsLife #Believe #Success #Inspiration #Netflix #Hulu #Amazon #HBO #AppleTV #Showtime #Acting #Artist #Theatre #Film #YourBestBadActing #Content #CorbinCoyle #JohnRuby #RealFIREacting #TMS_Pod --- Support this podcast: https://podcasters.spotify.com/pod/show/the-moving-spotlight/support

Podríamos decir que casi todo el teatro es un rito, que se hace magia en escena… Pero el teatro ritual es aquel que hunde sus raíces en la antigüedad clásica o hurga en el chamanismo para conseguir la catarsis del espectador y que, al finalizar la obra, algo haya cambiado en su interior. Junto al director de teatro Carlos Costa, que hoy nos presenta su nueva obra ‘Crujidos', profundizaremos en esta corriente del teatro que llega hasta nuestros días con ejemplos como Artaud, Stanislavski o Jodorowsky. Hablaremos también de algunas supersticiones asociadas al mundo del teatro y del género de terror sobre el escenario. Compra tu entrada, acomódate en tu butaca y disfruta… ¡La función va a comenzar! No te pierdas 'La Semilla del Diablo en Castilla-La Mancha'. Temporada completa ya disponible: https://bit.ly/3q57yqN Si has disfrutado con este programa, compártelo en redes sociales y participa dejando tu comentario: - YouTube: https://cutt.ly/wORVJYY - Twitter: https://cutt.ly/9GUvgov - Instagram: https://cutt.ly/yGUvlV8 - Facebook: https://cutt.ly/NGUvnlK Dirige y presenta: Jesús Ortega

The October Revolution was not just an act of economic and political emancipation for the downtrodden masses, it also represented artistic and creative emancipation. Individual geniuses - such as Eisenstein, Meyerhold, Stanislavski, Tatlin, El Lizzitsky, and Shostakovich - rose to prominence and revolutionised their artforms. But more remarkably, millions of ordinary people were given access to the world of art and culture, previously denied to them by the bourgeois class. A spiritual and cultural uplifting on this scale had never been seen in human history. In this episode, Nelson Wan discusses these outstanding artistic achievements, and why another revolution in art will not be brought about until the revolution in society is completed. ✊ Join the campaign to build a Revolutionary Communist Party: https://socialist.net/join

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

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

With an extensive portfolio of over 200 audiobooks, Daniela is a born & bred American (Dual citizen Brit) who calls both California & London home. Daniela works from her fully equipped Home Studio w/authors, producers, and publishers including Tantor Audio, Hachette–UK, Harper Collins, Simon & Schuster, Brilliance, Deyan & Dreamscape. Daniela is a classically trained actress with a strong foundation in Stanislavski in addition to training in Strasberg Method Acting and Meisner. Daniela is also a trained Red Nose Clown and has worked the boards in Theatre, Cabaret and Burlesque for years. By day Daniela narrates & by night she is the host of the hugely popular, quirky Youtube Show The Narrator's Cup of Joe, where she interviews wonderful, eccentric characters from the audiobook world.DanielaAcitelli.comNarrators Cup of Joe FB groupAudiobook narrator Karen Commins owns NarratorsRoadmap.com and hosts Pit Stop. She's joined by fellow audiobook narrator Anne Flosnik as co-host. We hope you'll enjoy the ride!Transcript available here Hosted on Acast. See acast.com/privacy for more information.

durée : 00:59:53 - Tous en scène - par : Aurélie Charon - Le dramaturge et metteur en scène américain Richard Nelson est invité au Théâtre du Soleil où il met en scène sa pièce "Notre vie dans l'art", qui raconte une journée dans la vie de la troupe de Stanislavski et du Théâtre d'Art de Moscou, en tournée aux Etats-Unis en 1923. - invités : Richard Nelson dramaturge et metteur en scène américain; Arman Saribekyan comédien au Théâtre du Soleil; Hélène Cinque Metteur en scène Théâtre et comédienne

Mario Golden was born in Mexico City in 1964. When he was 14 his family immigrated to South Texas. He graduated from high school as a valedictorian and attended Stanford University, where he earned a bachelor's degree in Psychology and a master's degree in International Development Education (SIDEC) and Teacher Education (STEP). During his time at Stanford he completed internships in clinical psychology at Miramonte Mental Health Services in Palo Alto (California) and at the Constance Bultman Wilson Center for Adolescent Psychiatry in Faribault (Minnesota). He learned about theories on social transformation, feminism, Freirian pedagogy, and sexual politics and became an activist.   In the early 1990s, Mario worked as a teacher specializing in bilingual curriculum development in the California public education system. He then worked as a trainer and counselor in the field of HIV/AIDS. In San Francisco he was a coordinator and counselor at the Hermanos de Luna y Sol Program at the Mission Neighborhood Health Center Clínica Esperanza. As an activist, he participated in various organizations and movements.  Mario began his acting training with Rob Reece, a veteran member of the Actors Studio, whose teachings concentrated on the Stanislavski method combined with psycho spiritual growth work. While in training, he founded OneHeart Productions, a non-profit theater company. In New York City he continued training under the tutelage of Actors Studio veteran Alba Oms. As an actor, he has won accolades and several awards. During this time, Mario gained an interest in playwriting, and began studying with Yale University School of Drama alumnus Allen Davis, III. He then joined the Puerto Rican Traveling Theater as a member and co-director of the Professional Playwrights Unit. His plays have been staged in New York, Berlin, Münster, San Francisco, and Mexico City. In 1998, Mario wrote and co-starred in the feature-length screenplay, Del Otro Lado, with Gustavo Cravioto. The movie premiered in 1999 at the International Lesbian and Gay Film Festival in San Francisco. It was screened in other countries, including the First Lesbian and Gay Film Festival of San Francisco in Mexico City. In 2018, Mario published Semillas, a Spanish language novel about a young gay revolutionary. The book has been received enthusiastically by readers. For over 30 years Mario has contributed to the healing and growth of countless individuals, couples, families and communities. This includes innovative work with marginalized populations focused on empowering psychological and cultural transitions in order to make positive adjustments towards a freer and more genuine life. As a psychospiritual teacher and counselor, through his School of Mysteries, he offers counseling services, training, facilitation, and tools in areas of self-awareness, interpersonal communication, conflict resolution, empowerment, and community development. Mario is married to German theater director and journalist Andreas Robertz. He lives in New York City. MARIO IS A SURVIVOR OF SEXUAL ABUSE AS A CHILD  You can contact Mario at: www.theschoolofmysteries.com --- Support this podcast: https://podcasters.spotify.com/pod/show/ozzie-stewart/support

Antes del Método Stanislavski las interpretaciones eran teatrales. Después de él, la inmersión de un actor en su personaje ha llegado convertirse en una cuestión obsesiva e incluso exagerada y paródica. La revolución del Método se instaló en terreno intermedio en los años 50 en Estados Unidos, cuando Marlon Brando, Robert de Niro, Meryl Streep, Al Pacino o Diane Keaton aprendieron bajo este sistema. ¿Cómo llegó el Método a ser tan influyente? ¿Quién era exactamente Konstantin Stanislavski? ¿Y a qué extremos miméticos se ha llevado esta filosofía por actores como Daniel Day Lewis o Jeremy Strong? Lo indagamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares, Sergio del Molino y Nacho Vigalondo. Además, celebramos el Premio Princesa de Asturias de Streep tratando de recordar todas sus nominaciones al Oscar (21).

Programa completo de 'Más de uno' con Carlos Alsina. En las primeras horas, Miguel Ondarreta, Juan Carlos Vélez, Elena Bueno, Sara Iturbide, Manuel Pecino y María Gómez Prieto repasan las noticias regionales, nacionales e internacionales. Marta García Aller hace su reflexión diaria y en La España que madruga repasamos los principales titulares de la jornada. En la tertulia con David Jiménez, Pilar Velasco, Antonio Caño y Rubén Amón analizamos la actualidad política. Además, Alsina entrevista al secretario general del PSOE en Andalucía, Juan Espadas. En la segunda parte, nuestro chef Robin Food nos da la receta para preparar una tortilla de patatas con cebolla. En La Cultureta hablamos del Método Stanislavski. Por último, Jorge Abad revela cómo Alsina consigue los premios que le dan y J.F León pone el broche musical al programa con el último disco de los Rolling Stones. 

Antes del Método Stanislavski las interpretaciones eran teatrales. Después de él, la inmersión de un actor en su personaje ha llegado convertirse en una cuestión obsesiva e incluso exagerada y paródica. La revolución del Método se instaló en terreno intermedio en los años 50 en Estados Unidos, cuando Marlon Brando, Robert de Niro, Meryl Streep, Al Pacino o Diane Keaton aprendieron bajo este sistema. ¿Cómo llegó el Método a ser tan influyente? ¿Quién era exactamente Konstantin Stanislavski? ¿Y a qué extremos miméticos se ha llevado esta filosofía por actores como Daniel Day Lewis o Jeremy Strong? Lo indagamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares, Sergio del Molino y Nacho Vigalondo. Además, celebramos el Premio Princesa de Asturias de Streep tratando de recordar todas sus nominaciones al Oscar (21).

Interview with Inga Romantsova, a professional actress and academic who specialises in teaching acting using the Stanislavski method, about how Australian students perceive the realism of Anton Chekhov. - Интервью с Ингой Романцовой, профессиональной актрисой и академиком, которая специализируется на обучении актерскому мастерству по методу Станиславского, о том, как австралийские студенты воспринимают реализм Антона Чехова.

Konstantin Stanislavski, often simply referred to as Stanislavski, was a Russian actor, director, and theatre practitioner. Stanislavski was one of the co-founders of the Moscow Art Theatre and directed many of its early productions. He is best known for his pioneering work in the field of acting and for developing the Stanislavski system, also known as the method of physical actions or method acting.This snacky episode of the artists podcast is dedicated to the master. FOLLOW OUR FRESHLY BREWED INSTA HANDLE: THE.ARTISTSPODCAST Email id: metaphysicallab@gmail.com/  You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For partnerships/queries send you can send us an email at bonjour@eplog.media   DISCLAIMER: The views expressed on all the shows produced and distributed by Ep.Log Media are personal to the host and the guest of the shows respectively and with no intention to harm the sentiments of any individual/organization.The said content is not obscene or blasphemous or defamatory of any event and/or person deceased or alive or in contempt of court or breach of contract or breach of privilege, or in violation of any provisions of the statute, nor hurt the sentiments of any religious groups/ person/government/non-government authorities and/or breach or be against any declared public policy of any nation or state.See omnystudio.com/listener for privacy information.

Want to learn to be a real actor? Well, if you're willing to plumb the depths of emotionally devestating experiences from your childhood and past, or living your life in the exact circumstances of your character, then you're in luck! Doesn't sound appealing? To most people, those kind of ideas (drawing on memories to inform a performance and “being” your character) is the epitome of what's known as “method acting.” But in fact, there really isn't just one “method” - and as it turns out, that idea of an acting method is a relatively recent - and controversial - concept…Rob teaches Ray about the “method” technique of acting, and how the idea of a systematic approach to acting developed; how Konstantin Stanislavski impacted acting education by exploring the intersection of psychology and performing in his theatre work; the different interpretations and teachers who branched off from Stanislavski's ideas; the many notable actors who have emerged from these acting schools; and whether the “method” or “system” of acting is still considered the gold-standard in modern stage and screen acting.If you like what we're doing, please support us on Patreon or subscribe to our bonus content on Apple Podcasts. And if you have any thoughts or feedback you'd like to share with us, we'd love to hear from you - feel free to send us a message on social media!TEAMRay HebelRobert W. SchneiderMark SchroederBilly RecceDaniel SchwartzbergGabe CrawfordNatalie DeSaviaARTICLESEPISODE CLIPSHis Girl Friday (1940) - a Better Offer Scene (1/12) | MovieclipsGone With the Wind (1/6) Movie Clip - Scarlett Meets Rhett (1939) HDA Streetcar Named Desire (5/8) Movie Clip - I'm the King Around Here (1951) HDWhat Is Method acting?Clip of Lee Strasberg Directing Katherine Cortez, 1979Stella Adler: Awake and Dream! From “American Masters”What Is the Meisner Technique: The Repetition Exercise (Part 1)Sanford Meisner Master Class Screener

Proud theatre geek turned Army Special Forces Green Beret, turned 'Medal of Valor'-earning firefighter and now back to actor, Jeff Bosley is a film and television actor. During his years in theatre performing on stage Jeff's studies focused on The Meisner Technique. As he transitioned to film & television his education expanded to Stanislavski's 'Method' while studying for nearly 5 years at the Lee Strasberg Theatre & Film Conservatory. He continues to train and study at Strasberg, the American Film Institute, the SAG-AFTRA Conservatory and multiple studios in the Los Angeles area.His current work and projects have earned him major roles transporting him to international movie sets and Cannes Film Festival Screenings. His indie feature film 'Parallax' (which he starred in and produced) has been making the festival rounds for the last several years with 11 awards as of December 2021- including multiple winners of Best Actor, Best Producer, Best Short Film and Best Thriller.

Proud theatre geek turned Army Special Forces Green Beret, turned 'Medal of Valor'-earning firefighter and now back to actor, Jeff Bosley is a film and television actor. During his years in theatre performing on stage Jeff's studies focused on The Meisner Technique. As he transitioned to film & television his education expanded to Stanislavski's 'Method' while studying for nearly 5 years at the Lee Strasberg Theatre & Film Conservatory. He continues to train and study at Strasberg, the American Film Institute, the SAG-AFTRA Conservatory and multiple studios in the Los Angeles area.His current work and projects have earned him major roles transporting him to international movie sets and Cannes Film Festival Screenings. His indie feature film 'Parallax' (which he starred in and produced) has been making the festival rounds for the last several years with 11 awards as of December 2021- including multiple winners of Best Actor, Best Producer, Best Short Film and Best Thriller.

Leaders need to get out of their heads. That's the central message of this interview with acclaimed science writer and author of the Extended Mind Annie Murphy Paul. In this though provoking episode, Annie informs Jodah and Dan about the importance of feelings to thinking, how our bodies are important to our thinking process, how the physical spaces we work in impact our cognition, and how groups of people can effectively think better together. A fascinating episode perfect for executives and managers looking for new leadership tools and frameworks that involve the body, re-think physical workspaces, and build better teams able to engage in effective collective cognition.    ABOUT ANNIE MURPHY PAUL Annie Murphy Paul is an acclaimed science writer whose work has appeared in the New York Times, Scientific American, and The Best American Science Writing, among many other publications. She is the author of Origins, The Cult of Personality, and now The Extended Mind. Senior writer at the Hidden Brain Podcast on NPR.   Annie Murphy Paul's Contact: https://anniemurphypaul.com   TIMESTAMPS 00:00 – Jodah is late for the podcast because je's taking a walk 01:32 – Why feelings are so important to thinking (Hint - Descartes was wrong) 04:30 – Expanding our understanding of thinking beyond the isolated brain 07:16 – Physical activity and thinking – movement a gesture augmenting or thinking 09:00 – Should leaders be taking more walks with their teams? 10:00 – The restorative power of nature 12:00 – Why you shouldn't feel guilty for talking walks to stimulate thinking 13:00 – Negative impacts of mid-20th Century Cognitive Revolution – Brain is like a computer metaphor 15:00 – What is the source of consciousness and is consciousness too limiting a factor to our concept of mind? 18:00 – David Chalmers, Any Clarke, the extended mind, artificial intelligence, and human loppiness 19:20 – AI is another tool to help human thinking 20:00 – Non-conscious processing 22:05 – Stanislavski, arts, gesture, kinesthetic response, memory and thinking 34:30 – Social Introception – attuning your body to others 26:00 – What chimps can teach us about ourselves and leadership – especially non-verbal communication 28:57 – Workspaces and Zoom 30:00 – The loss of apprenticeship by osmosis due to remote work 31:00 – How do we balance the cognitive needs of workers – nature, remote work, om-person collaboration, urban congestion as companies like Amazon return to the offices 35:30 – Fatal flaw of the open office 37:30 – Effective open space team environments that use the physical space 41:35 – Transactive memory systems to find information 43:02 – Impact of cognitive offloading 46:00 – Cognitive apprenticeships, ChatBots, and Tutoring 48:00 – AI, decision making, empathy, and ruthlessness  51:50 – How to use cognitive apprenticeship to train staff 54:00 – Asymmetrical deals and meditation 57:22 – How to contact Annie Murphy Paul #Leadership, #ExtendedMind #Cognition, #Bodies, #workspaces, #Thinking, #Mind, ##AI, #CHatGPT, #Consciousness, #CognitiveOffloading,  #Physicality, #Relationships, #CollectiveThinking, #Groupiness, #Cognitive Apprenticeships, #ArtificialIntelligence     --- Send in a voice message: https://podcasters.spotify.com/pod/show/daniel-tarker/message

In this episode, Adam and Budi discuss their third choice for The Theatre of Others Book Club, To the Actor by Michael Chekhov.Mikhail Chekhov was born in St. Petersburg, Russia in August 1891. His father, Aleksandr was the brother of the great playwright Anton Chekhov. In 1912, Chekhov became a leading actor of the Moscow Arts Theater, studying Stanislavski's new method of acting training. Chekhov became Stanislavski's ‘most brilliant pupil'. By 1918 Chekhov began to investigate Rudolf Steiner's spiritual science through his friend. Chekhov began incorporating some of Steiner's philosophies in his work creating his own acting technique. In 1922 he became head of the First Studio of the Moscow Art Theater. Leaving Russia in 1928 he traveled Europe staging many productions and establishing a theatre course in Dartington Hall in Devon, England, and training The Group Theatre in 1938 when he moved to the United States, to set up a new school for actors. During the 1940s, Chekhov acted in Hollywood movies such as Hitchcock's ‘Spellbound', for which he was nominated for an Oscar. His students later included Ingrid Bergman, Gregory Peck, Anthony Quinn, Jack Palance, and Marilyn Monroe. Chekhov died on September 30th, 1955 in Hollywood.Mentioned in this episode:Waiting for GuffmanRudolf SteinerSulerjitskiSupport 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 Support the Theatre of Others - Check out our Merch!Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

“Reading is not for play. It is to gain knowledge” Stella Adler The Art of Acting[i] and she adds that “I, for instance, am very strict about what I eat and I'm equally strict about what I read.”   In keeping with our season theme of going back to the basics, and building the strongest 2.0 version of ourselves, I'm skipping to episode #199[ii] on “The Neuroscience of Self-Belief and Our Identity”[iii] from Feb 2022. For those who are returning guests, welcome back to The Neuroscience Meets Social and Emotional Learning Podcast, where we cover the science-based evidence behind social and emotional learning (for schools) and emotional intelligence training (in the workplace) with tools, ideas and strategies that we can all use for immediate results, with our brain in mind.  For those who haven't met me yet, I'm Andrea Samadi, an author, and an educator with a passion for learning and launched this podcast to share how the understanding of our complex brain transfers into our everyday life and results. On this episode #288 we will cover: ✔ A review of The Neuroscience of Self-Belief and Our Identity ✔ How Belief in Ourselves Develops and Changes Over Time ✔ Top 5 Lessons Learned from Stella Adler's “The Art of Acting” ✔ Why Continual Study is Important When I looked back to EP 199 on “The Neuroscience of Self-Belief and Our Identity” I noticed that we opened with a quote from the late Bob Proctor, and a meeting with my friend Patti, who worked closely with Bob's seminars over the years. Patti and I met a few weeks after Bob moved from what he would say was the physical plane, to the spiritual, and we talked about some of the important lesson learned, and knowledge gained from those days working in the seminar industry, and how they've impacted our daily life since then. Concepts based on our beliefs like: “All things are possible if you believe. “Our results are all based on our beliefs” “If we don't like what's going on outside, we've got to go inside, and change our beliefs.”[ii] --Bob Proctor These ideas were at the core of every seminar Proctor conducted, and he would travel the globe presenting these ideas in a way that would captivate and change the lives of his listeners globally.  Now I sold seminars for Bob from 1999 to 2002 and every time he would come up with a new seminar, people would say the same thing.  What's new with this one?  I'd explain that this new seminar had a different angle but some people would challenge this new angle and say, “that's kind of what we learned in the last seminar” (belief in ourselves) to do xyz and the answer was yes… belief is behind everything we want to do… it's at the heart of every seminar.  It's also something that takes time to develop. I've heard it described in different ways. It's like pouring a drop of red food coloring into a glass of water, and you stir it once, and the red coloring disappears. We've got to keep putting the red drops into the water, to notice the change in color. It's not easy to notice at what point the color goes from clear to red, as this change takes time. Just like the belief we must have in ourselves that develops over time. It's difficult to put belief into words, or know when we've got it, or not, but it can be seen easily by others. I saw it while interviewing Ryan O'Neill on EPISODE #203[iv] on “Making Your Vision a Reality” because I knew Ryan BEFORE he achieved the goals he had set for himself, and remember when they were just ideas, written down.  Watching his success over the years has been nothing short of incredible, and the change shows up for Ryan on the outside. His knowledge, confidence, and success in his daily life, shows up clearly with his demeanor, as his work now is being showcased globally, on the Discovery Channel[v], and he himself agreed with me when I pointed this out to him. Over time, he could see it himself, but like the food color in the water, it is difficult to pinpoint the change as it's occurring. How do we change our belief and identity over time? Other than continual study, and learning that leads to growth, what else would the experts in the field of learning suggest? We can review the science behind self-belief, and where belief exists in the brain, by going back to EP 199 where we covered this, but today, I've got to go back to the seminar industry, because so much of what yielded success in those early days, worked for some reason, (I can list so many who have surpassed their goals with these principles) so my goal today is to revisit these age-old strategies, that have been around for over 2,000 years. Today's episode takes us back to this one book that speaker Bob Proctor would talk about in every seminar, and even in his book, Change Your Paradigm, Change Your Life[vi]. If you've ever been to one of his events, you'll know what I'm talking about. He would say “You know, you've got to read Stella Adler's The Art of Acting” whether he was talking to a regular person, like you or me, or an Oscar Award Winner, like Phil Goldfine[vii], who listened to what Bob told him, then took the action that led to his Oscar Award in 2014. I remember Phil standing and holding this prestigious award at the last seminar I attended in January 2016, explaining that it all started when Bob told him to write down his goals, and he did, and the next thing I knew, here he was, standing up and holding his Oscar, while the audience just listened to how simple it was for him to achieve it.    Phil Goldfine would tell you it was just his belief that did it, and he went on to use the same principles to achieve something next with swimming, something he had yet to perfect, that I'm sure he has achieved by now. It took me two seconds to find an interview from 2019 with Phil Goldfine that showed me he DID in fact hit his swimming goal, and many others that he declared back in 2016 when he showed us his Oscar. What he said got him there was “action”[viii] and that's one of the secrets within the pages of that book that Proctor recommended we read every seminar, The Art of Acting. Stella Adler's technique, called “Method Acting” is founded on an actor's ability to imagine a character's world. Now it's all starting to make sense to me why Proctor would love this book, and talk about it so much, as he would hold his hand out and get us to all look up into the air, and “build our castles in the sky.” He was trying to get us to “imagine” the world we wanted to build. It's called “Method Acting” and now I can see exactly how acting is connected to self-belief, building our identity, and goal-achievement. Stella Adler was the only American artist to study with Konstantin Stanislavski, a prominent figure in Russian theatre and her technique encouraged actors to expand their understanding of the world, in order to create compelling performances. You know, what we don't understand, or we don't connect with, we tend to ignore, and that's what I did when Bob talked about acting. I remember thinking, oh shoot, here he goes again about that acting book, as he would stand on stage, and explain how Laurence Olivier could transform his character, and move his audience, using something called “Method Acting.” Now I'm not at all into movies, and not usually star stuck by actors or fame as I've met many from this industry along the way, and I marvel at how they do what they do, but I'm most interested in the journey that got them to where they are today. I met film Director David Webb[ix], while he was shooting the horror film Taking Lives, with Angelina Jolie, Colin Farrell[x], while he was filming A Home at the End of the World, and they were both “out of character” and relaxing, just chatting to me about what they were working on. Then, I sat at a lunch table next to Stephen Spielberg[xi], and listened to what his day to day conversations, which was nothing out of the ordinary, but when I met Sean Penn, I KNEW he was an actor. Sean was in a swimming pool, with sunglasses on, and introduced himself to me as “hey, I'm the make-up guy” with an accent anyone from the 1980s could place, and I just laughed, knowing full well that he was playing the character of Jeff Spicoli, from Fast Times at Ridgemont High, just to see my reaction. I glanced over at his wife, Robin Penn at the time, and just laughed. This was no make-up artist. He was Jeff Spicoli, and we all knew it. He was “Method Acting” and it's taken me almost 20 years to learn about this method. This weekend I finally read the book that Bob Proctor would recommend in every seminar, Stella Adler's “The Art of Acting.” I never understood what an acting book would have to do with setting and achieving goals, so I brushed it off, and never read it. What a huge mistake. Just a glance at the table of contents and the lights went on (pun intended). Stella Adler was teaching acting in a way that Proctor taught us success principles in the seminar world. “You'll never be great unless you aim high” or “ideas are difficult because they are on paper, but read them several times slowly, the ideas will become yours and you'll be able to give them back.” Stella Adler Bob's practices were right in line with Stella's. He used to have us focus on a sentence, word by word, until we integrated the idea into our daily life (Thomas Troward as an example). So what does acting, a profession that's almost 2,000 years old, have to do with goal-setting and achievement?[xii] I didn't see it either, until I actually read “The Art of Acting” and started to put the pieces together. There is a connection between reaching those high levels of achievement, that leads to a change in self-belief, and it begins with an understanding of “the stage” that Stella Adler outlines in her book. I found an article written by Amy Beilharz, that outlined the Top 4 tips from this book, that translates to our everyday life, called “What Do the Oscars and Your Success Have in Common.”[xiii] She talks about “acting” as “doing” describing the lessons she learned in the book. This book is something you just have to read, and you'll see what I mean as you will see something in yourself, that you might not have seen before. She outlines 22 lessons, that were her classes, and begins with a powerful story from Laurence Olivier. I heard this story over and over again from Proctor, and I used to zone out because I just didn't see what was so profound about some actor on stage, but after reading these pages, I began to connect the dots. Proctor tells it better, but the main idea is that Laurence Olivier played Othello in a way that one night, blew the entire audience away. At the end of the show, everyone asked him “how did you do it” and he said “I don't know” because he really didn't understand what he did. He later discussed on interviews that he had massive anxiety about this, as he didn't know how to replicate what he had done, and worried he'd never be able to do it again. I KNOW WHAT HE DID. And it took me back to PART 5[xiv] of our Think and Grow Rich book study, where we learned about how to transmute our energy from one form into another. It's one of the “Secrets” is in the pages of Stella Adler's “The Art of Acting” that explains why Laurence Olivier moved his audience. He became someone else while he was on stage in a way that no one had seen before. Like Sean Penn who became Spicoli, he became Othello in a way that hit the audience from the spiritual, intellectual and physical mind, and it was masterful. It was unforgettable. I bet it took the breath away from those watching. It shocked Laurence Olivier just as much as it shocked his audience. You'll know what I mean when you think of an artist that hits you to the core on all 3 levels (spiritual/soul, intellectual/ mind, and physically as you can feel the performance). I can name a few artists I've seen who can do this. Think about this for a minute? Can you? Who moves you to the core when you watch them perform, that you can barely speak? You're captivated. That's Stella Adler's “The Art of Acting” And it takes the belief of the artist FIRST. REVIEW AND CONCLUSION: To review this week's Brain Fact Friday, we went back to EP199 on “The Neuroscience of Self-Belief and Our Identity”[xv] that took us back to improving our self-awareness that we covered on EPISODE #2[xvi] of our podcast back in July of 2019. We looked at where self-belief and our identity exist in the brain and we pondered: Where does self-belief come from? How does it get instilled in us? How can we inspire it in others? Then we looked at Stella Adler's “The Art of Acting” to see what acting has to do with self-belief, our identity, goal-setting, and goal-achieving. There were many timeless lessons in the pages of her book, and I do hope that you will read this book yourself, but here are the ones the stood out the most to me. ACTING IS DOING: (Class 3) She says that “you learn acting by acting” and isn't that true, that we learn when we take action. But Stella Adler was very strict with the actions that she takes. She said it in the beginning that she is strict about what she eats, and equally as strict about what she reads. She was also very strict about how someone stands, walks and presents themselves saying “if your body is not in good shape, your acting cannot be in good shape.” (p18). THE ACTOR NEEDS TO BE STRONG: (Class 4) where she reminds us again of the importance of health and sitting upright, not looking like we have “broken bodies that turn inward.” I can just imagine her yelling out “sit up straight” to her students, as I remember that was the key to projecting our voice when I was in choir in 5th We were taught to breathe from our diaphragms and she explains this with the importance of projecting our voice. And to build our voice she suggests “to read an editorial aloud every day.” First, read it with a normal voice, and then your voice should get “bigger and bigger, stronger and stronger.” (p55). I can tell you for sure that recording solo podcast episodes has helped me to build my voice. I know I speak much differently into the microphone, than I do if I'm talking to someone in person, or even on the phone. My WHOOP device logs my heart rate that goes well into the target heart rate zone every time I record my voice, and over time, I do see this practice has helped me to improve my speaking and presentation skills. I know there's ALWAYS room for improvement here, but that's what Stella wants us to remember. DEVELOPING THE IMAGINATION: (Class 5) Stella reviews the importance of health again here, and how “we are instruments of our bodies, and have to keep them in optimal condition.” (Page 63). We've focused entire episodes to the theme of health (mental and physical) on this podcast, as I also believe that without our health, we are at a disadvantage, but she connects this to our ability to create something in our minds. Stella teaches her students how to “live imaginatively” building images on the screen of our mind first saying that “anything that goes through your imagination has a right to live.” (Page 66). She has many exercises in this class to build up your imagination faculty so you can “bring aliveness” to your acting, which is much different than just acting “the facts.” She says that “you must give back life and not death.” YOU MUST DRESS THE PART: (Class 16) This chapter we heard over and over again in the seminars, as Proctor lived it himself. It was rare to see him wearing jeans, even when I had to drop something off at his house, he would be dressed up. He talked about the importance of “dressing for success” especially when working from home, and treating a home office, just as you would if you had to drive to one. Stella believed the same, saying that “You are what the clothes makes of you. Clothes say something about your self-control, your self-awareness, your social awareness. Clothes say something about your ability to be restrained, your ability to be respectful.” (Page 192). She says that when you come on stage, to “stand in a way that expresses power that comes from the ground up.” (Page 196) I agree with her that you can feel the power, and energy with the way you dress, and stand tall. The fastest way to “feeling” successful, is to put in the effort to look your best every day. PORTRAYING CLASS ON STAGE: (Class 22) This is where Stella talks about “the method” where “understanding your character has to go beyond your own life.” (Page 253). She asks us to imagine playing a peasant, and getting into the character with class, by looking at Van Gogh's painting of peasant boots saying “that everything has value. Nothing is old—or rotten.” (Page 252). Stella learned “method acting” directly from Russian playwright Konstantin Stanlisvaski who “directs the actor to apply deep personal and emotional connections to a role to achieve a realistic and naturalized performance.”[xvii] Not all actors believe in this “method” as Laurence Olivier was famous for “expressing disdain for method acting while filming the 1976 film Marathon Man. Exasperated with the lengths his co-star Dustin Hoffman was going to for his role, (who actually stayed up for days to become sleep deprived) and Olivier asked, My dear boy, why don't you just try acting”[xviii] which I thought was hilarious and so very true. Stella Adler “was wary of Stanislavski's idea of emotional recall to generate emotions on stage and felt it limited actors to their small realms of experience.”[xix] Adler believed more in cultivating the actor's imagination to bring their characters to life. I hope that you can now see, like I did, the clear connection that exists between acting and our future success. Some people like Phil Goldfine, or Sean Penn, have used these practices to reach great heights with their careers, and Proctor would call these people “consciously competent” as they were aware of what they were doing to get these results. Others, like Laurence Olivier, were shocked and amazed at their results, having no idea what they had done, and Proctor would call people like this “unconsciously competent” meaning they couldn't explain what they had done. While I know we all won't be as good as Laurence Olivier or Sean Penn, right away, the goal is to keep reading, learning and getting better at whatever it is we are doing, so that our results become predictable, aimed high, and that we work towards being consciously competent at whatever it is we are working on. If we can do this, then we can teach it to others who follow in our footsteps. If we can follow Stella Adler's “Art of Acting” with whatever platform or stage we are performing on daily integrating her tips into our work, and aiming at hitting our audience on all three levels: physically, intellectually and spiritually, then we know we are on the pathway towards something special. Remember: She would say “What is acting? Voice. Voice. Voice.” I'm glad I finally read “The Art of Acting” to gain this new perspective of building self-belief and identity, and can now add Stella Adler's tips to help me to become a stronger, more resilient version of myself with her strategies that go back 2,000 years in time. With that, I'll close out this episode, and see you next week.   REFERENCES: [i] Stella Adler The Art of Acting (compiled and edited by Howard Kissel) https://www.amazon.com/Art-Acting-Stella-Adler/dp/1557833737 [ii] https://andreasamadi.podbean.com/e/brain-fact-friday-on-the-neuroscience-behind-self-belief-and-our-identity/ [iii] https://andreasamadi.podbean.com/e/brain-fact-friday-on-the-neuroscience-behind-self-belief-and-our-identity/ [iv] https://andreasamadi.podbean.com/e/case-study-with-paranormal-researcher-ryan-o-neill-on-making-your-vision-a-reality/ [v] Warner Brothers, Discovery UK and Ireland  https://twitter.com/chrisfleming91/status/1647083554118021120/photo/2 [vi] Change Your Paradigm, Change Your Life by Bob Proctor https://www.amazon.com/Change-Your-Paradigm-Life/dp/B09G5132VW/ref=sr_1_1?hvadid=604546232584&hvdev=c&hvlocphy=9030068&hvnetw=g&hvqmt=e&hvrand=4410657837430788254&hvtargid=kwd-622963963620&hydadcr=22592_13493326&keywords=paradigm+shift+book+bob+proctor&qid=1683679068&sr=8-1 [vii] Phil Goldfine Grammy https://www.facebook.com/OfficialBobProctor/photos/phil-goldfine-has-been-a-student-and-friend-of-mine-for-many-years-last-night-hi/10152248842639421/?paipv=0&eav=Afb0ArYL4FwVIZqrj0nxLES9BYlLb6erWqGP8VbuO3_KABPdpfgY-LMt5VWDasplRkM&_rdr [viii] Oscar and Emmy Winner Phil Goldfine Shares 5 Things You Need to Know to Succeed in Show Business Feb. 25, 2019 by Yitzi Weiner https://medium.com/authority-magazine/oscar-and-emmy-winner-phil-goldfine-shares-the-five-things-you-need-to-know-to-succeed-in-show-b3152bbf985e [ix] Taking Lives 2004 https://www.imdb.com/title/tt0364045/fullcredits/?mode=desktop&ref_=m_ft_dsk [x] A Home at the End of the World 2004 https://www.imdb.com/title/tt0359423/ [xi] Stephen Spielberg https://en.wikipedia.org/wiki/Steven_Spielberg [xii] What do the Oscars and your success have in common? https://www.proctorgallagherinstitute.com/9551/what-do-the-oscars-and-your-success-have-in-common [xiii] What do the Oscars and your success have in common? https://www.proctorgallagherinstitute.com/9551/what-do-the-oscars-and-your-success-have-in-common [xiv] https://andreasamadi.podbean.com/e/think-and-grow-rich-book-review-part-5-on-the-power-of-the-mastermind-taking-the-mystery-out-of-sex-transmutation-and-linking-all-parts-of-our-mind/ [xv] https://andreasamadi.podbean.com/e/brain-fact-friday-on-the-neuroscience-behind-self-belief-and-our-identity/ [xvi] https://andreasamadi.podbean.com/e/self-awareness-know-thyself/ [xvii] 7 Actors Who Put the Method into Method Acting by Aiden Canter April 12, 2022 https://collider.com/actors-method-acting/ [xviii] Why Hollywood is Finally Over Method Acting by Emma Nolan April 22, 2022 https://www.newsweek.com/why-hollywood-finally-over-method-acting-1700143?amp=1 [xix] Don't Be Boring: An Introduction to Stella Adler's Technique by Tatum Hunter https://dramatics.org/dont-be-boring/  

A professional actress and academic who specialises in the Stanislavski's system, Inga Romantsova, told us about her role in the new movie "Petrol". - Профессиональная актриса и академик, специализирующаяся на обучении актерскому мастерству по Станиславскому, Инга Романцова о своей роли в фильме "Бензин" и о том, как выживают люди творческих специальностей после коронавирусной пандемии.

I worked in the theatre from ages five to 32, and during that time I learned a lot. Like... a lot. In the main, I acted, but I also directed, designed and made costumes, worked backstage, and once designed a set that was completely made of sails. And I sewed those sails. Yes, me, and all on my own. So, working in the theatre, mainly as an actor, I had to learn how to inhabit a character, and I brought all of that to my creative writing practice - and more. You might have heard the name Konstantin Stanislavski. Stanislavski was a Russian theatre practitioner who developed a system many actors follow to train, prepare, and rehearse. I studied Stanislavski's methods, and here's what I think writers should take from his system. If you'd rather read, here's the accompanying blog post.

Andreea Ion CojoCaru is a unique blend of VR developer and practicing architect in both virtual and physical spaces, but who is also driven by deep philosophical questions and her own embodied curiosities exploring the boundaries between the virtual and the physical. These embodied experiences in virtual reality have actually catalyzed a pretty significant paradigm shift in CojoCaru's own philosophical thinking. I first met CojoCaru at VR Now in Germany in 2018 in a serendipitous collision that led to a deep dive discussion into the phenomenology of architecture. We then crossed paths again in London for the Immersive Architecture of the Internet Symposium organized by Space Popular where she was talking about using VR to hack her sensory perceptions. During the pandemic, I invited CojoCaru to participate in a discussion unpacking the immersive architecture of Valve's Half-Life: Alyx. By the time I had a chance to catch up with her CojoCaru again at SXSW in 2023, it had been nearly three years since we last did a deep dive in anything. I had sent her a conversation about Process Philosophy with Matt Segall at the end of 2020, and again with Grant Maxwell covering 13 process-relational philosophers in 2021, and passed along my recent discussion with Segall about his upcoming book unpacking an organic view of reality and contextualizing Whitehead's and Schelling's Process Philosophy with Kant as a guardian of the epistemological threshold. What's striking about this is that while she was not very receptive to this process-relational mode of thinking through the podcast medium of philosophical discourse, she was actually in the process of her own philosophical paradigm shift towards Eastern philosophy via Orthodox Hinduism and process-relational thinking catalyzed from her own embodied experiences of VR and completely independent of these other conversations. In the process of working on this concept of an open source city project called Spectra Cities, which she announced on March 7 as having received a 2 million Euro grantb where here design shop of numena will "work on behavioral analysis & participatory design using VR +Spectra Cities." CojoCaru has been also deeply inspired by Stanislavski's system of improve and has been translating her architectural and spatial design process into a piece of embodied performance not only for herself, but for others as well. It's through this more dynamic and participatory relationship to a more fluid and "rubbery" experience of architectural forms that she started to search for an alternative metaphysical grounding that went beyond Mel Slater's "presence as illusionary framing" that Chalmers argues against in his book Reality+. She started to find some deep inspiration from the Vedantas, but was also still in the sensemaking process for how to more fully contextualize this more dynamic and relational dimension of design that goes beyond the more static framing of Western substance metaphysics. On March 5th, CojoCaru had privately expressed some skepticism towards my claims in my two conversations with Segall that embodied VR experiences could start to catalyze a philosophical paradigm shift towards process-relational thinking. But by the time I had a chance to speak with her on March 14th at SXSW, she had the sudden realization during this conversation that she herself had in fact gone through a radical philosophical transformation towards a more process-relational mode of thinking that was catalyzed by her embodied experiences within VR. Then in this conversation we decide to coin the term "process-relational architecture" to describe this interactive, dynamic, improvisational, performative, and participatory design process that's she's been doing with virtual architecture. So rather than focus on the materiality of substance as a static metaphysical foundation, then process-relational metaphysics that I think this passage from the Stanford Encyclopedia of Philosophy enca...

La actuación mejorará tu comunicaciónLa actuación no es solo una habilidad importante para actores y actrices, sino que también la actuación mejorará tu comunicación. En este episodio Julián Bustamante, locutor, actor y profesional del doblaje nos cuenta cómo la actuación ayuda a mejorar tu comunicación en cualquier contenido, escenario o contexto.la actuación mejorará tu comunicación (y no tienes que ser actor)La actuación y sus diferentes técnicas pueden ayudar a mejorar la capacidad de interpretación, la comunicación efectiva y la conexión con el público. Esto puede ayudar a crear contenidos más efectivos y memorables.En primer lugar, la actuación pueden ayudar a los creadores de contenido a conectarse con sus emociones y a expresarlas de manera auténtica. Es decir, que la interpretación efectiva requiere que el intérprete se sumerja en el contenido y experimente las emociones que se están tratando de transmitir.Hay varias técnicas de actuación, como la improvisación y la técnica de Stanislavski. Con éstas, los creadores de contenido pueden aprender a conectarse con sus emociones y a expresarlas de manera efectiva en cualquier escenario, ya sea un podcast, un video de YouTube, una presentación en vivo o una reunión de negocios.Cualquiera sea el contexto, la actuación puede ser clave para que el mensaje capture la atención de la audiencia y la mantenga interesada, y se cumpla el objetivo de comunicación.La comunicación puede ayudar a los creadores de contenido a desarrollar habilidades de comunicación, como el manejo del tono de voz, la dicción, la proyección y la interpretación del lenguaje corporal.En cuanto al manejo de la voz, existen varias técnicas de actuación que pueden ser útiles para mejorar la presentación en público. Una de ellas es la técnica de la respiración, que se enfoca en la respiración diafragmática para controlar la voz y proyectarla de manera efectiva.Los creadores de contenido también pueden practicar la entonación y la modulación de la voz para transmitir diferentes emociones y tonos. Además, la práctica de vocalizaciones y ejercicios de articulación puede mejorar la dicción y la claridad en la comunicación.Otra técnica de actuación útil para los creadores de contenido es la improvisación, que puede ayudar a desarrollar habilidades de pensamiento rápido y adaptabilidad.Esto puede ser especialmente útil en situaciones de presentación en vivo o en debates donde los creadores de contenido podrían tener que responder preguntas imprevistas o adaptarse a situaciones cambiantes.Nuestro invitadoPara hablar de cómo la actuación mejorará tu comunicación, nos acompaña Julián Bustamante quien es locutor, actor y profesional del doblaje.Ha grabado cientos de comerciales, ha actuado en varias películas y series, tiene miles de minutos doblados y además es la voz de documentales y promociones de algunos de los canales de TV más importantes en América Latina.En este episodio Julián nos compartirá:- ¿Cómo usar mejor la voz en cualquier contexto?- ¿ Qué es el espíritu del talento?- ¿Cómo mejorar la interpretación de lo que tenemos que comunicar?- La importancia de la conciencia- Y en general, ¿Cómo la actuación mejorará tu comunicación?Recuerda por favor escucharnos y suscribirte en la plataforma que más te guste:Apple Podcast Spotify Google Podcast Para participar, escríbeme tus comentarios a santiagorios@milpalabras.com.coRecursos recomendados en este PodcastRedes sociales Julián BustamanteInstagram: https://www.instagram.com/julianbustamanteactor/https://www.instagram.com/elespiritudetutalento/Este episodio complementa muy bien este temahttps://www.milpalabras.com/155-caracteristicas-de-un-buen-orador/Spreaker es el lugar que recomendamos para alojar tus podcasthttps://spreaker.pxf.io/milpalabrasSuscríbete al Podcast de Mil Palabras enwww.milpalabras.comDescarga GRATIS el ebook “Cómo Crear un Podcast Corporativo”https://milpalabras.com.co/ Quizás quieras escuchar el episodio anteriorhttps://www.milpalabras.com/210-habitos-para-trabajar-mejor-y-ser-mas-productivos/La Actuación Mejorará Tu Comunicación, Creadores De Contenido, Julián Bustamante, Actuación, Doblaje, Interpretación Actoral, Voz, podcast, Podcast Corporativo, Comunicación Organizacional, Recursos Humanos, Desarrollo Profesional, Desarrollo Personal, Comunicación Efectiva, Santiago Ríos, Mil Palabras

Recording a podcast episode with Milton Justice is a fun experience leaving much on the "cutting room floor." So this episode is mostly the leftovers, uncut Milton. He tells amazing stories about Tennessee Williams, Mark Ruffalo, and Bob Hope to name a few. There is not much of a connection to education in most of these stories, but they are a hoot to hear. Consider it a holiday gift from The Teacher As...podcast. 

Reinvention: Identity, Sobriety and The Wheel with Kevin Kreider @kevin.kreider Broadcast journalist and pioneer of BBC's HardTalk Chris Sackur once made the astute observation that artistic types are confined to a single label, as it is more convenient to survey the skill of an artist to the public, but . . . Art doesn't have limits, only small minds do as is paraphrased by Stanislavski. On this show and many subject programs, pay attention long enough and you'll notice that seekers and advocates of Recovery have a strong creative streak that spans mediums by the dozen and as such have ventured to create their own content to purvey their skills. . . . . . This show is a primo example. Commerce, meanwhile, at the same time has been a tricky shadow subject and to this day has kept advocates on their toes where Recovery is concerned - “How in the world could you charge something you can get for free?” comes the one statement, whilst “Recovery is NEVER FREE!” also has been heard for a foolish retort.  Art and commerce are uncommon bedfellows as are Santa Claus and the Easter Bunny, but the heart is what separates the boys from the men. Taking a stand when the deck is stacked high and breaking the mold. Kevin Kreider is the second coming to reinvent this wheel. Kevin has an extensive portfolio spanning the arts, business, and motivational speaking to name but a few. He has been featured extensively on multimedia with his endeavors to break cultural stereotypes (much like his predecessor, the legendary James Hong) in Television and Film and is featured on the popular unscripted series on Netflix “Bling Empire”. As a further testament to his versatility, Kevin used his experience and created a new opportunity with his new ready-to-drink zero-proof cocktail, Sans.  He joins DIS Live to chat about his journey and the path he molded for himself to highlight cultural and career diversity. Tune in on DIS Live, every Tuesday at 5 pm Est 2 pm PSt.  To be part of our live audience or ask questions to our guests please request access ahead of time firesidechat.com/daniellapark Thanks for listening! Daniella Park & Chris Nell Check out doingitsober.com for all of the most unique gifts in recovery!

It's a unique look at the acting craft when Jon Bernthal joins Rob Lowe. In today's episode you'll find out why Jon left the United States for an intense training session at Stanislavski's theater in Moscow, how grateful he is for his time with The Walking Dead, and both actors swap Oliver Stone stories that you don't want to miss! Got a question for Rob? Call our voicemail at (323) 570-4551. Yours could get featured on the show!

In this episode, Xavier Bonilla has a dialogue with Isaac Butler about the history of method acting in the 20th century. They discuss who was Stanislavski and how he started his theater studio and system. They discuss the impact of Tolstoy and Chekhov on Stanislavksi. They explain the expansion of the method globally and how Lee Strasberg and Stella Adler became involved with the method. They talk about the differences between the system and the method and what is composed of the Method. They discuss how Marlon Brando was a genius and legend, origins of the actors legend, and some of the current modern actors that use the actors studio. They talk about current-day method acting and many more topics.  Isaac Butler is a cultural critic, historian, theater director, and podcaster. He is the co-author of The World Only Spins Forward (with Dan Kois) and of his most recent book, The Method: How the Twentieth Century Learned to Act. He is the host of the Slate's podcast, Working. Twitter: @parabasis

In this episode, Adam and Budi discuss the Holes in Acting Training today, how the Stanislavski system has been shoehorned into shorter and shorter rehearsals disjointed from the body, and suggest a way forward getting back to nature and the somatic experience. Mentioned in this episode:Stacy AbramsA Stange LoopRoundabout TheatreTaylor BarfieldJulian Elijah MartinezSuzuki TadashiKoh Murobushi"Point of Privilege"TOO MerchTo submit a question, please visit http://www.speakpipe.com/theatreofothers for voice recording or submit an email to podcast@theatreofothers.com Messages may be quoted by name unless the writer stipulates otherwiseIf you enjoyed this week´s podcast, we´d love for you to leave a review on Apple Podcasts. It helps with our visibility, and the more people listen to the podcast, the more we can invest in it and make it even better Music credit: https://www.purple-planet.comAdditional compositions by @jack_burmeisterSupport the show

Intro: Dinosaurs, collaboration, chickens:roost Let Me Run This By You: Teal Swan Interview: We talk to W. Earl Brown about Deadwood, A View From the Bridge, Kentucky, family trauma, Dr. Bella Itkin, Don DePallo, Chris Farley, Wes Craven, David Milch, Gretchen Rennell, Leo Burmester, There's Something About Mary, It's Cold in Them Thar Hills, Hamlet, The Imaginary Invalid, That Championship Season, Amy Pietz, George Czarnecki, transcendence in the theater, Waltz of the Toreadors, Stanislavski, depression, Scream, John C. Reilly, 

Karaoke is all about singing, right? That should be obvious, but what's a little less obvious is finding your voice. Do you sing like yourself, in your natural voice? Do you try to imitate the original artist? Ed makes the bold claim that he is "the voice of karaoke" (and that isn't about the quality of the singing), and Adam and Ed talk about taking songs originally performed by women, and why that's a great way to expand your karaoke repertoire. In terms of impersonation, Ed goes into trying to sound like the artist, and Adam talks about the Stanislavski method and embodying a character, if not a voice. The trivia challenge is all over the place--it covers sampling, comedy songs, and iconic voices, and that's all inspired by this episode's guest: Bobby Hedglin-Taylor is a standup comedian and impressionist who integrates actual karaoke into his act and can sing in 50 different voices. He talks about that, how he finds the voices he does, and how doing singing impersonations made his own natural singing voice better. If you're listening on day one and are in the NYC area, you can catch his New York Queer Comedy Festival Highlight Show Thursday April 21st, 9:30PM at the Greenwich Village Comedy Club. As always, you can find more info on the website (https://www.sungpoorly.com), and on social media--the show is @sungpoorly on Twitter, Facebook, Instagram, and now even TikTok. You can reach Adam and Ed via email by sending a message to sungpoorly@gmail.com. And if you want to support the podcast and snag yourself some great karaoke and podcast swag doing it, our store has all of that and more–www.sungpoorly.com/store. Theme song: "Gasoline" by Ben Dumm and the Deviants. Make sure to check out Ben's newest music at The Ben Dumm 3. Bobby Hedglin-Taylor is standup comedian, a circus and aerial designer who has worked on and off Broadway, in summer stock and regional theater as well as rock concerts and cruise ships, and he's just published his first book, a tribute to his late mother called #ShitMyMamaSays–a humorous look at life while dealing with dementia. Now available on Amazon. His next book, Escape to Ravioli Mountain- a Memoir in Food, is currently in the editing stage. Recipes and amusing anecdotes from growing up in a dysfunctional Italian family on a mountaintop in rural Pennsylvania. All this and he can cook too! Find him on social media: Facebook-Escape to Ravioli Mountain join his mailing list - EscapeToRavioliMountain@gmail.com Instagram and TikTok @BobbyHedglinTaylor @EscapeToRavioliMountain Twitter- @YwalkWhenUcnFly

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

Joni Rodgers is known to readers and publishers as a novelist, ghostwriter and essayist with an eye for detail, an ear for language and a heart to match her subjects. She's collaborated on best-selling books with Don Lemon (This is the Fire), Kristin Chenoweth (A Little Bit Wicked), Swoosie Kurtz (Part Swan, Part Goose), Elizabeth Smart (Where There's Hope), Justin Bieber (First Step 2 Forever), Rue McClanahan (My First Five Husbands…and the Ones Who Got Away), and Ndaba Mandela, the grandson of Nelson Mandela (Going to the Mountain), among others.  In January, 2022, she plans to reissue six books of her own, including the critically-acclaimed novels Crazy for Trying and Sugarland and the deeply personal (and, deeply funny) memoir about surviving cancer as a young mom, following a diagnosis of non-Hodgkin's lymphoma at the age of 32—the best-selling Bald in the Land of Big Hair. Joni's always known how to hold an audience: she grew up on stage, performing in a family bluegrass band called The Dakota Ramblers, and after studying theater in college she thought she'd make her way in the world as a performer—acting, playing music, and doing voice-over work. The cancer changed that—and so, she started writing.  “Ghostwriting combines the craft skills I've gained as a writer with the collaborative spirit of my theater roots,” she writes on her website. “I use my Stanislavski training to capture the unique voice of my clients, structure compelling stories, and focus powerful messaging.”  Together with her husband, the multi-media artist Gary Rodgers, she runs the Westport Lighthouse Writers Retreat, on the Pacific Coast, adjacent to Washington's Westport Light State Park.  Connect with Joni Rodgers: Official website Westport Lighthouse Writers Retreat Facebook Instagram

Stanislavski! Strasberg! Stella! This week, Caroline and Ned go deep on the history of method acting as they look at James Dean's leading man debut in Elia Kazan's 1955 family drama, East of Eden. The hosts explore what it means to be an "actor's director," share some of their own experiences with acting and directing, and try to figure out why this movie is so goddamn stressful. As mentioned in the episode, you can watch James Dean act opposite Ronald Reagan in the 1954 TV drama " The Dark Dark Hours" (youtu.be/wzVdx-HTPDI). And you can also check out this really great collection of photos from Dean's life (medium.com/everythings-interesting/james-dean-a-life-in-pictures-5c0e0877472). Our theme music was created by Patrick Budde, and our logo was designed by Nick Wanserski. You can get in touch on Twitter (twitter.com/rolecalling) or email us at rolecalling@gmail.com.

Þorsteinn Bachmann fer með stórleik í þessum þætti. Við útskýringar á aðferðarfræði Chekhov og Stanislavski var hann við það að bresta í grát þáttastjórnandi líka. Við förum yfir hlutverkið hans í Kötlu, hvernig Helgi Björns kickstartaði leikferli Þorsteins og feimnina sem hann þurfti að yfirstíga til að mæta á svið - sem var svo mikil að hann kastaði upp á milli sena.