Podcasts about stanislavski

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

Send us a textWhen Marine veteran Jim Rojas found himself in an acting scene opposite Linden Ashby, something unexpected happened. Though Jim wasn't even on camera or in character, Ashby reached across with profound gratitude after the scene wrapped. This moment revealed to Jim that his lifelong mental habits—creating different versions of himself in various scenarios—had perfectly prepared him for acting. What began as childhood coping mechanisms had become a sophisticated operating system for his mind.Jim calls this "spiritual shape-shifting," and it's revolutionizing how people approach everyday challenges. At its core is the Stanislavski system—a century-old acting methodology built on seven questions that dissect any moment: Who am I? Where am I? When is it? What do I want? Why do I want it? How do I get it? What's in my way? By systematically answering these questions, actors create authentic experiences within imaginary circumstances. Jim realized these same questions could help anyone navigate real-world situations with greater awareness and effectiveness.The science backs this approach. From Dr. Lisa Feldman Barrett's theory of constructed emotions to programs like Sense Theater helping autistic children understand social interactions, these techniques have proven their value far beyond the stage. Jim's "intangible toolbox"—presence, awareness, emotional regulation, empathy, critical thinking, and more—represents skills systematically taught to actors that benefit everyone.In his book "All Your Best Selves," Jim details how these performing arts techniques can transform your life anytime, anyplace, with anyone. As he powerfully states: "When we gave the world literacy for reading, it changed the world. When we gave people mathematical literacy, it changed the world. Why wouldn't it change the world if we gave people mental and emotional literacy in a systemic way?" Discover how accessing all your best selves could lead to the richer, fuller life you deserve. https://www.amazon.com/dp/1647469740/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=164743261Want to be a guest on Living the Dream with Curveball? Send Curtis Jackson a message on PodMatch, here: https://www.podmatch.com/hostdetailpreview/1628631536976x919760049303001600

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.

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.

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/  

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...

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!