Podcasts about stanislavsky

“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

An actor's actor of the first order, Vincent D'Ononfrio has been delivering “all in” performances, usually in supporting roles, for  nearly four decades—“Full Metal Jacket,” “Men In Black,” “Household Saints,” “Steal This Movie!,” “The Cell,” “The Magnificent Seven,” to name just a few, not to mention 10 audience-loving seasons of “Law & Order: Criminal Intent.” He's getting more accolades for his latest performance as Wilson Fisk in “Daredevil: Born Again.” On this episode he talks about the “emotional event” that he has to summon to bring about Fisk's voice in that series and its predecessor. He takes us all the way back to his introduction to Stanislavsky through Sonia Moore and Method work through Sharon Chatten, talks about renting camera equipment to make an early self-tape to send to Stanley Kubrick, explains why script analysis is the best way to serve the story, how “Law & Order” made him a better actor, the fundamental importance of failure, and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Panelists will offer a wide array of perspectives on acting, scenic design, playwriting, diversity in theatre, theatrical institutions, and possibilities for a more equitable and inclusive theatre world. Sharon Marie Carnicke, author of Dynamic Acting through Active Analysis and Stanislavsky in Focus, is an internationally acclaimed expert on acting for stage and screen. Her award-winning translations of Chekhov’s plays have been produced nationally. Her other books include Checking out Chekhov and Reframing Screen Performance. She is a professor of Dramatic Arts and Slavic Languages and Literatures at USC and founder of the Stanislavsky Institute for the 21st Century. Snehal Desai is the artistic director of Center Theatre Group, one of the largest theatre companies in the nation. Previously, he was producing artistic director of East West Players. A Soros Fellow and the recipient of a Tanne Award, Snehal was the Inaugural Recipient of the Drama League’s Classical Directing Fellowship. He has served on the boards of the Consortium of Asian American Theaters and Artists, Theatre Communications Group, and currently serves on the board of the National Alliance for Musical Theatre. Snehal was on the faculty of USC’s graduate program in Arts Leadership and is a graduate of the Yale School of Drama. Rena Heinrich is an associate professor of Theatre Practice at USC. Her book, Race and Role: The Mixed-Race Asian Experience in American Drama, traces the shifting identities of multiracial Asian figures in theater from the late-nineteenth century to the present day and exposes the absurd tenacity with which society clings to a tenuous racial scaffolding. She is a contributor to Shape Shifters: Journeys Across Terrains of Race and Identity and The Beiging of America: Personal Narratives about Being Mixed Race in the 21st Century. Maureen Weiss is a performance designer and scenic investigator who has worked in all aspects of theatre, design, and art for the past 25 years. Her work has been seen internationally, and was honored at the Prague Quadrennial in 2023. As a designer, her work has been seen nationally, as well as locally in Los Angeles at The Getty Villa, The Latino Theater Company, The International City Theatre, and 18th Street Arts Center. Maureen is the co-author of Scene Shift: U.S. Set Designers in Conversation, with Sibyl Wickersheimer, which inspired an exhibition at the USC Fisher Museum of Art. She was an associate professor of Performance Design at Alfred University before coming to Los Angeles City College in Fall 2023.  Moderator: Luis Alfaro is a Chicano playwright born and raised in downtown Los Angeles and an associate professor of Dramatic Writing and director of the MFA Dramatic Writing Program at USC. His fellowships include the MacArthur Foundation; United States Artists; Ford Foundation; Joyce Foundation; Mellon Foundation & the PEN America Award for a Master Dramatist. His plays, including The Travelers, Electricidad, Oedipus El Rey, and Mojada, have been seen throughout the United States, Latin America, Canada, and Europe. 

Our guest today is Bella Merlin http://www.bellamerlin.com/ Bella has been working for over twenty-five years in theatre, film, television and radio. She is Professor of Acting and Directing at the University of California, Riverside and is the author of several books on acting. Including  The Complete Stanislavsky Toolkit, Facing the Fear: An Actor's Guide to Overcoming Stage Fright and Shakespeare & Company: When Action is Eloquence... co-authored with Tina Packer.  Bella is known on the international circuit for her workshops on Stanislavsky and his rehearsal process, Active Analysis. She has held posts in the UK at the university of Exeter. And university of Birmingham (where she received her PhD). She has also taught workshops and directed at a number of drama schools and universities both in the UK and USA.  Her stage acting appearances are numerous and include productions with Shakespeare & Co. in Massachusetts and the Royal National Theatre in London. Her one woman show Tilly Nobody explored identity and domestic violence. Her recent touring production, Lucy Gough's The Wild Tenant, is currently touring the UK and is what we focused on. With the the continuing theme of domestic violence and her personal connection to her Character, I started the conversation by asking how she took care of her wellbeing when doing such an emotionally demanding play. Bella's honesty is honorable and her insights into the acting process invaluable. 

Actor-director Michelle Danner is also an acting coach at the Los Angeles Acting School who specializes in the Meisner, Strasberg, Adler, Hagen, Chekhov and Stanislavsky techniques. Alongside Larry Moss, she's also the founding and Artistic Director of the Edgemar Center for the Arts.In 2006, Michelle made her feature film directing debut with, How to Go Out on a Date in Queens, winning the L.A. Film Awards' Best Acting and Best Movie awards. Her 2013 film, HelloHerman, catalogs the effect that peer abuse, parental neglect and the general coarsening of society has on a typical high school student.  Michelle has acted in and directed over thirty plays in Los Angeles and New York, with her favorite acting credit cited as the Dramalogue award-winning Tennessee Williams' The Rose Tattoo. Among her other award-winning stage work, she produced The Night of the Black Cat at Edgemar, she directed the world premiere of Mental the Musical, and she wrote and directed You're on the Air, an improvisation-based comedy.Michelle also produced and acted in the award-winning short Dos Corazones, directed by Larry Moss. And she was voted favorite acting coach by the readers of Backstage. Notable projects Michelle has directed include: Bad Impulse with Paul Sorvino, Ticket to the Circus, a one-woman play about the life of Norris Church Mailer, starring Anne Archer.  And most recently she produced and directed the feature, Miranda's Victim, a biographical crime drama depicting the origins of the well-known Miranda warning. The movie stars Abigail Breslin, Luke Wilson, Andy Garcia, Donald Sutherland, Ryan Phillippe, Kyle MacLachlan, Mireille Enos, Taryn Manning, and Emily VanCamp. I've seen Miranda's Victim and can tell you it's an intense and deeply emotional story about how the legal system can be impacted and changed by overcoming injustice amid challenging circumstances. www.michelledanner.comwww.edgemarcenter.org

Gurus: the Story of Acting takes us from the bad old days of stagey, artificial, over-the-top acting to where we are today, with performances that are subtle, authentic and true. In this episode we meet some of the main figures in the story, including Constantin Stanislavsky and Jacques Copeau. Then we listen in on a conversation between Gurus host, Jeff Zinn and Alfre Woodard, who has been astonishing audiences with her humanity, her truth, her beauty, and her versatility as an actress since she first came into view in the early 1980's. Woodard has received various accolades, including four Emmy Awards, a Golden Globe Award, and three Screen Actors Guild Awards, as well as nominations for an Academy Award and two Grammy Awards. In 2020, The New York Times ranked her as one of "The 25 Greatest Actors of the 21st Century." Learn more about your ad choices. Visit megaphone.fm/adchoices

WANT MORE? Become a subscriber on Spotify for bonus content! https://podcasters.spotify.com/pod/show/actingclass/subscribe One of the biggest contributions that Stanislavsky (and later Stella Adler) made was the clear logic they brought to the study of acting. This episode includes several ideas in acting technique that simply make sense: make a choice, move slowly, do research that feeds you, "keep moving. It may be forward." Have a question for Milton? Send us a voice note below or email us at: questionsformilton@gmail.com Also, check out our website: www.idontneedanactingclass.com  --- Send in a voice message: https://podcasters.spotify.com/pod/show/actingclass/message

The MAT was too big, too unwieldy a place for Stanislavsky to develop his burgeoning system. Instead he created a smaller space more conducive to his explorations. Enter Leopold Sulerzhitski, a truly picaresque figure - hobo, stagehand, conscientious objector and polymath - whom Stanislavsky entrusted to lead the First Studio. Suler personally taught a roster of major figures - Michael Chekhov, Eugene Vakktangov, Maria Ouspenskaya and Richard Boleslavsky - who would eventually bring the system to the wider world.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/storyofacting/message

In this episode, which ranges from Stanislavsky to Futurama, Maren and Alex ask: how creative is the Creator? What do actors inherit as part of an acting dynasty? What do the central performances reveal about humanity and AI? And will this film encourage Hollywood to be more original? 

In 1897, a fateful meeting lasting 18 hours between Constantin Stanislavsky and Vladimir Nemirovich-Danchenko, would give birth to the Moscow Art Theatre. The MAT would become the incubator for Stanislavsky's evolving system of acting. --- Send in a voice message: https://podcasters.spotify.com/pod/show/storyofacting/message

Stanislavsky, the early days. If you set out to raise a child who would grow to become a great actor, director, and theatrical guru, this is how you would go about it: expose him to all the arts, build him his own theater, and make sure he has plenty of money to pursue his hobbies. Just don't be surprised when he abandons the family business and goes pro. --- Send in a voice message: https://podcasters.spotify.com/pod/show/storyofacting/message

What came before Stanislavsky? In the late 19th century, Sir Herbert Beerbohm Tree was an actor, director and theater owner in London. He was the original Henry Higgins in Pygmalion directed by Shaw himself. Tree founded the Royal Academy of Dramatic Art (RADA.) Today he is forgotten. Tree's theatre of excess demanded something new and different and true. --- Send in a voice message: https://podcasters.spotify.com/pod/show/storyofacting/message

How did we get from the bad old days of stagey, artificial, over-the-top acting to where we are today, with performances that are subtle, authentic and true? In this episode we meet some of the main figures in the story including Stanislavsky and Jacques Copeau. We follow the diaspora out of Russia of Moscow Art Theatre players that sparks Russian fever in America. We also follow the parallel journey out of Paris that eventually landed on the shores of the UK and transformed the major conservatories.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/storyofacting/message

The Groupies are stunned when their de facto leader announces he has no topic! WHAT??? Ron reveals his favorite musical. Bob mentions cereal. New Groupie, Bill, name drops someone called Stanislavsky, and Brian makes Kathleen cry. All this and the questions remains.... What is the topic??? Tune in to find out!

In case you missed it live, this week we bring you our Conversation on Acting series with Sharon Carnicke. Sharon is an internationally acclaimed expert on Stanislavsky. Her latest book Dynamic Acting through Active Analysis follows the evolution of a radical rehearsal technique created by Stanislavsky. She is also the author of Stanislavsky in Focus: An Acting Master for the Twenty-First Century, Checking Out Chekhov: A Guide to the Plays for Actors, Directors, and Readers, and is the coauthor of Reframing Screen Performance. She is currently a Professor of Theatre Critical Studies at USC School of Dramatic Art. In this conversation, we break down "The Method" and the biggest confusions and misconceptions surrounding it. Have an acting question? Send us a voice message (link below ⬇️), or an email at questionsformilton@gmail.com and Milton will send you a personal audio response. WANT MORE? Become a subscriber for bonus content! https://podcasters.spotify.com/pod/show/actingclass/subscribe --- Send in a voice message: https://podcasters.spotify.com/pod/show/actingclass/message

Long before you lay eyes on your next script, you should be thinking about how your improv skills can help you stand out. Anne & Lau share their practical advice for integrating improv into your voice over work + act out some improved scenes for the Bosses! Improv is about being in the moment and responding to what is happening around you. Rehearsed speech sounds unnatural and stilted because it doesn't reflect the way people actually speak. If a script is written the way you'd like it to be written, great! But if it isn't written that way, then it is still your responsibility to make it believable. Improv requires imagination & creativity, which are both important elements of succeeding as a voice actor. Bosses, your voices are vehicles for storytelling, emotion, and world building.   Transcript   It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza.   Anne: Hey, hey everyone. Welcome to the VO BOSS podcast and the BOSS Superpower series. I'm your host, Anne Ganguzza, and I have with me my very special guest co-host Lau Lapides.    Lau: Hey Anne.    Anne: Hey Lau. How are you?    Lau: I'm awesome. Great to be back.    Anne: Ah, it's good to have you back Lau.    Lau: Okay, here's the situation. Ready? Here we go. You just bought a car, and you're picking it up for the first time. They even sprayed that new car smell. And it's shining and gorgeous. Had a little bow on top. Give me a moment of pre-life. Like what's the exclamation you make before you speak?    Anne: (screams) Oh my God, I'm so excited! I can't wait to get my car today!    Lau: Oh, and I would do this. I would go, ooooh, I'm so excited. I can't wait to get my car today.    Anne: I think it was important. I had some good physicality back there behind my mic here.    Lau: We both did. We both were like exploding.    Anne: So what is that, BOSSes? What are we talking about? Mmm?   Lau: Mmm, I think that's improv city right there. Improv.    Anne: Improv. So, so important to everything we do. I'm gonna say so important because, it really helps us. Would you say Lau, 90%, if not more, of casting specs are calling for believable, authentic, real? And I think honestly, in order for us to be real (laughs), improv is so very important to be able to create what's happening in the scene, your reaction, your emotion. I mean, that's really what makes us stand out from all the other people auditioning. Right?    Lau: Right. I mean, speakers in the larger world outside of our industry, call it impromptu speaking, being able to think off the cuff, think on your feet, being able to think on the fly. Every time you hear someone say that, we know it's a tough skill for people. We know it's not a natural ability for most people to be under these unnatural circumstances and just think on the fly. Right? But it's a great tool, right, for voiceover talent to be able to do that.    Anne: And you need it for everything. Guys, I don't want you to think that this is just for, I don't know, video games or character animation. You need improv for everything you do, including medical narration. Just saying. I'm like the biggest proponent of being in the scene, because we are so used to -- I think, those of you that just got into voiceover and you don't necessarily have acting experience — we're so used to picking up a piece of paper with words and reading the words out loud, and listen to what I just said. We're used to taking a look at the piece of paper and reading the words out loud. And that's what you don't wanna do, right, as a voiceover actor. You want to be in a scene. You want to sound as if you are there and speaking authentically and naturally and believably.    And so you can't just pick up a piece of paper with words that you've never seen before and just read them from left to right. You always have to put yourself in a scene. And that includes -- gosh, when I'm doing telephony script, and I'm saying thank you for calling. Like I put myself in a scene. I want people to really feel as though I'm thankful that they've called me (laughs). And improv helps me do that.    Lau: Yes. And you know, a lot of times people will say to me, but Lau, I don't get it. Like, I can't improv as a voiceover talent. Everything is scripted. They're never gonna ask me to improv when I'm auditioning or when I'm doing a gig. So why do I need to know this? I say, well, wait a second. What about all your prep time? You and I were just talking about this, Anne, how important it is to think of yourselves as an actor. You're a voice actor; you're acting a role. So when you're acting, you have to have technique, tools and technique to call upon to find your character development. How do I find that? So improvisation is a tool that helps us find the authentic, true character, sound, connection, quality, tones. It helps us find that. And then once we find it, we can pull it out like just outta your toolbox. You can pull it out whenever you wanna use it. And just that exercise we just did right now, the pre-life of exclamation, just that can potentially book you a gig.    Anne: Oh gosh, yes. And it's so interesting because I tell my students all the time, I'm like, okay, what's your moment before? Right? And I could be referencing a script that is the driest corporate narration script in the world. And it makes no sense because in the real world, I would never say these words. And that's what I constantly get from -- I would never say these words in the real world. But okay, we're not in the real world. Okay? We're acting. And we need to create the world in which those words would sound natural. And even if they're not written naturally, you have to create the scene.    And that I think, is so important. You're not preparing the script to sound a particular way. You can read the specs, and they're like, oh, we want youthful, millennial, or maybe sound with gravitas. Stop preparing that sound. What you need to do is to prepare the character, prepare the scene, prepare what's happening that's going to make you react, right, in such a way. that might portray those characteristics that are being called out. And I have so many students that get frustrated. I'll say, what's your moment before? And they'll be like, uh, I have no clue. Like, doesn't say anything in the script. Guess what, guys? Here's where you got — your imagination comes into play, right?    Lau: Yes.    Anne: So important. The imagination in developing a scene, develop a scene that makes sense to you.    Lau: Yes. And improv is an acting tool. It's an actor technique. And it's very challenging to do improv and be lazy. Like you can't be lazy and do improv well, because you're talking imagination. It has to kick in and connect. And oftentimes that requires energy, focus and speed in order to do that. And it's hard to do it if you're not engaged, if you're tired, if you're lazy, if you're disconnected. We oftentimes will get feedback for an actor from like casting that will say, ah, I don't like it. They feel disconnected, they don't feel connected somehow. And I always think of improv, 'cause improv is a wonderful source of connection to another person. How do we credibly and authentically connect to another person? Well, we practice it. It sounds like an oxymoron. You have to practice improv, but you do. You do.    Anne: You do. Absolutely.   Lau: You have to practice that skill. Right, Anne?    Anne: Absolutely. And the improv doesn't just happen at the beginning of the script. It's not just something you do to give yourself some pre-roll. Okay? Because if you start a script, and I say this constantly, especially with long format narration, when you are voicing something for a long period of time, you're in a scene, you need to stay in that scene. You can't just create the scene and then just read. Right? Because all too often people will create the scene, they'll be at the start of it, and then they will do a monologue. It becomes a monologue where they forget that there might be other things happening in the scene, or there might be other people in the scene that they're acting with. And just because they're behind the mic, right, and they're not physically there -- like if they were on stage, it would be easy to see that you're with somebody, right? And you're bouncing ideas off of somebody, and it's a back and forth, like a real improv class or a workshop.    But behind the mic, I think we tend to forget that there's other people in that scene with us. There's other things happening. There's movement. And if you are in a monologue, right -- I feel like monologues, unless they're extremely well written, right, are not as engaging (laughs) unless they're extremely well written. There are a lot of scripts that are not necessarily written for monologue. Right? It's like, here's my speech on this product, and you know what I mean? Like, here's my monologue about the product. Now how engaging is that? Right? If somebody's not interested in the product, you have to get them interested in the product. It has to be a story. And that story has to happen in between the sentences too. Right? You cannot stop just at the beginning.    Lau: Okay, I have a great improv. I have a great improv based off what you just said. All right. Peeps, listen in. Sell the product, whatever it is that is on your script. Sell the product or service. And do it completely in your own words. Like get rid of the script. Completely re-envision it. But remember, it's not just about saying the words or the lines. You have to persuade us. Like you have to make it feel like this is something that's super important to you, that you believe in and that you want us to know about. Right? So whether it's like a blouse or a car, or a cheese, or whatever it is, I would love to hear you talk about that from your own perspective, your own point of view, and really connect to it. And a lot of times, I know you get this, Anne, in coaching too, “but I don't, I don't eat cheese,” “I don't wear blouses; I'm a guy,” and“I don't drive cars.” Especially like that.    Anne: Yeah. I don't care much about the brand. I always get people that say, yeah, no, I don't really worry about brands. I'm like, okay. But for a living, you might be selling a particular brand. And so it's important, right, that you're educated about the brand, or you have to have some interest in it. You have to have some passion in it. And by passion, I don't mean overextended passion or over the top passion, unless it's called for, right, in the script. Because a lot of times for us to be believable and authentic, we have to sound authentic. So am I constantly like, oh my God, this product is amazing! I mean, I can't be that. Right? I can't. But I need to be as authentic as I can in my improv, right, in selling that product.    Lau: Well, you know, we should do, Anne? We should demo, we should do a quick demo. We should take something like a, an object, a simple object. We should have like a a 15 or 30-second conversation about that object.    Anne: Okay. So I always (laughs), I always have my lipstick. Okay. I always have my product here.    Lau: Okay. And the listener, maybe someone who doesn't wear a lipstick or doesn't care about lipstick, or maybe you're a man listening in, you don't ever -- okay, that's fine. But we're gonna have a conversation right now, Anne, about that. And it's all improv, right?    Anne: Okay, okay. So Lau. All right, so this Chanel, okay, typically inexpensive brand, right? Typically, most people will say, oh, it's way — this, this lipstick might be way overpriced. However, for me, I love this lipstick. I love this lipstick because I only have to put it on once. And so to me, the savings of time for this is amazing. I don't have to continually reapply my lipstick. I can drink water, I can eat, and I don't have to put it on over and over again. And it just stays on and it looks good. What are your thoughts? Would you, would you pay, would you pay $34 for this?    Lau: I would pay more than that, because I'm looking at it on your lips right now, and it's gorgeous. I love the gloss, I love the staying power. The color matches your skin tone perfectly.    Anne: And look, I can drink.    Lau: I love it. And you can drink, right? And it probably doesn't even leave residue on the cup.   Anne: And it's still there. And it doesn't feel dry.    Lau: It's still there.    Anne: It doesn't feel dry.    Lau: And I think it's economical for what it's offering you.    Anne: Well, right?   Lau: I would get it.    Anne: My time is worth money, right? And if it, and if this is gonna save me time, right, from reapplying lipstick, or if it's gonna give me confidence because I feel like, oh God, you know how some lipstick will just kind of, you know, come off your lips, and you'll only have like a portion of on your lips, and then all of a sudden you get in the car and you look at yourself in the rearview mirror and you're like, oh my God! (laughs), my lips look horrible.    Lau: They're gone.   Anne: Why didn't, why didn't my best friend tell me about that? So this, I don't have to worry about that. And so the ease, my mind being eased that I don't have to worry that it's come off and it's flaked off and it looks weird, or it's, God forbid, it's on my teeth. (laughs). No, it doesn't happen.    Lau: You took the words right outta my mouth. I was gonna say, your lipstick is never on your teeth. I'm impressed by that alone, and the fact that it's not all over your face like mine can be, by the end of the day, my lips are all over, you know, everywhere. So I, I just think that it's very cool for you to hold on to this and not go to other products, but really stay with it. Because it works, right?    Anne: Have I convinced you?    Lau: Now here's the thing. It's like, we do this in our daily life, right? We do this every day in our daily life.    Anne: That was improv. That was -- by the way, BOSSes, that was improv by the way.    Lau: That's all improv.    Anne: And that, I think if you are absolutely thinking about how would I sell this product? Like how would I voice this product? I mean, you can just riff (laughs), you know, I really love this product because it's amazing. And the funny thing is, is that Lau, you and I had a back and forth. And I think for improv, you have to also improv, if you don't have anybody with you and you are trying to improv your audition, I think you create that second person that you're having the conversation with. It's very much a technique that I use to sound conversational and just sound natural or believable, is to actually play a part with somebody else.    Because that's what you would do -- if you had a script and you were on stage, you'd be able to bounce your ideas back and forth. There would be an acknowledgement or a smile, or a nod or a conversation between two people. And so you have that movement, you have that scene that you can then improv, right? And once you improv, your voice takes on, especially like with you and I, it takes on the emotion and the point of view, which really, really brings out a script versus a read. This lipstick is wonderful, right? Versus, I mean, I'm like a robot saying that, but when I'm really like, oh, this is amazing, this is wonderful — it completely shows up in my voice. And so the fact that I've created in my mind this improv back and forth with my imaginary person that I'm telling about this lipstick is really makes all the difference.    Lau: It does. It does, Anne, because that's the power of improv. It's the personalization of it. When you're gonna say to me, but I don't use lipstick, Lau. I don't wear makeup -- I'd say, that's okay. Now let's engage your imagination. What if, — the magic “what if,” right? Stanislavsky's magic if -- what if you did wear makeup? What if you did wear lipstick? You know, when you were a little kid, you thought that way. And you weren't wearing lipstick or makeup (laughs).That's the irony, right?    Anne: And here's the deal. Transfer this lipstick into, let's say, a Halloween costume, right? You put green on your face if you were gonna be be the Incredible Hulk or, whatever that is, right? So consider that, make that part of your imaginative world, right? And how did that make you feel? I think there's always that, like, did it make you feel confident? Did it make you feel good? Were you excited to go show that off to your friends? And how does that translate in your voice? How does that make you sound — first of all, it's gonna make you sound connected, right?    Because when you're disconnected from the material, right, there's no emotion flowing in that voice. There's no emotion in that word. There's so many technical things that happen to words when you inflect an emotion onto them, or a point of view, right? So it's like, this is amazing. Like just the fact, amazing. Like I, it's not like I didn't say, this is amazing. No. I said, this is amazing. And so the rhythm changed, the intonation changed, so many technical things changed about my voice. And that is something when a casting director is listening to you, right? That is going to hit their ears and go, ah, there's an actor. And I swear to God, right? We know, for the first few words out of the mouth, we know if you're acting.    Lau: Oh, yeah.    Anne: Right?    Lau: Oh, yeah. And start with something that is known to you, personalize it to you, like give yourself a quick scenario that you lived, that you know, if it's possible. So let's go back to the lipstick, Anne. Let's say I'm a man, right? Or someone who doesn't wear lipstick or whatever. Okay. But my favorite aunt wears lipstick, and every time she would kiss me, I would literally smell it. I would smell the lipstick, I would notice the color of it. I always think of that color when I think of my aunt. So I'm personalizing it into something I know, and something that means something to me so that I can go into other scenarios that are a bit farther away from me.    Anne: Absolutely. Absolutely.   Lau: But if I don't start with any frame of reference at all, then I get that falseness, I get that falsehood of like, let me just sound like I love lipstick.    Anne: This lipstick — yeah, exactly. And I think that voice actors, if you're just getting into the industry and you're not realizing just how important this is to really make your auditions stand out and make you connect with the copy -- it's incredibly, incredibly important that you spend time. Like I know so many people are like, oh, I did 60 auditions today, or I did a billion auditions today. Well, I want you to take five minutes before you start, before anything comes out of your mouth (laughs). And I want you to first of all, research the product. If you know what the product is. Sometimes you don't know what the product is. Sometimes the script is obscure and you're not exactly sure what it is. And that makes it even more challenging for you to improv, right? Because you're trying to figure out what is this even talking about? And I know that's just the case for a lot of audition scripts that come along and we don't know what it's even talking about.    So then what we have to do is look at that script even closer. Every single word on that script has a meaning. And it may seem that you have no idea what it's talking about, and it's ridiculous. But honestly, somebody was paid probably a lot of money (laughs) to sit there and write every single word to create that brand message or to get that brand message out. And you need to really look at those words and think, what do they mean? What could it mean? And can I improv a scene, right, so that they would sound logical and realistic and have meaning and create emotion?   Lau: Absolutely. And let's say you don't do this at all. Let's say you say, I can't do improv at all. I can just do the lines --do this. This is a very famous actor method. Do substitution. Like how do I get to something personal? Let me take this little thing of lipstick. I have my own on my side, lipstick on my side. And this is no longer a lipstick. What this is to me is an EpiPen. So this EpiPen can save my child's life when she has a problem and get stung by a bee. And you say, well, how does that work? It's lipstick. I said, well, I can still do an improv with Anne and talk about this as if it's an EpiPen, but it'll sound like, I can't live without this. I really can't live without this. I always have this in my cabinet ready to go. Day or night, it goes with me. And you'd think I was talking about the lipstick. But I'm really talking about the EpiPen.    Anne: Sure, absolutely.    Lau: Try that in terms of your improv in your daily life, when you need to connect with someone's situation, someone's stuff that they're bringing up that you don't really have any idea about. You haven't lived through it, you don't use it. You don't know about it. And you ask them questions about it. But think about what that is to you in your life. What's the substitution in your life that connects to what they're talking about? That's how powerful improv can be. It can make you friends. It can win you jobs. It can make you a lot of money.   Anne: And something else that can help you -- I feel like I see this every episode, Lau — Google is your friend. Anne GanGoogle, right? Google is your friend. Like if you, if there's any indication of what you're talking about in the script, or there's words in there that you're not sure what it's even about, Google. I mean, I can't tell you how helpful it is to --if you're not familiar with the brand and the brand name is there, you can go to the website, and you'll get a great visual representation of what that is and who they might serve. And that will also help you to place your improv and place your scene in a place that's logical.    I mean, it has to be logical, right? I mean, you want it to sound natural and believable. And so you should have a little bit of education about the product or the company, or maybe what's their demographic? Are they selling to young people? Are they selling to a more mature audience? And that can help inform the scene for you that you are going to create. But you must, you must use your brain. And it's not easy, right? It is sometimes it is. Like I rack my brain trying to figure out what is this saying? Like I don't even know. This is so ethereal and so out there that I don't even know what this is saying. But I, I find that if I keep rereading the lines, somewhere along the line, if I look at the important nouns, if I look at the objects, if I look at the emotion of it all, I can really read more into it to try to figure out, okay, this would make sense. Now, if this was a storyline where somebody was upset that something wasn't going right, and this product -- like the EpiPen, right -- was truly meaningful and could really help save a life.    And so I think if you just continually look at the words, see how the words fit together, and then if you have any clues whatsoever in the script, go ahead and Google it. And that's gonna help you find out maybe what the brand is. What do they actually do? Do they serve multiple demographics? What are the colors? I mean, you can just go into like the visually, what are the colors on the website? What is their tone of voice on the webpage? You know, the verbiage on the webpage? How do they approach their clients? And I think that will really help to help you build the scene that you must improv.    Lau: Yeah. And if you go to their YouTube channel, you're gonna see visuals of what the culture is like, what the sound, feeling, environment is like. I mean, put yourself in that environment. That's the old actor Johnny Depp type exercise where the method actors would always go to the place that their character is in and just feel what the place feels like. Well that's kind of important because if I'm doing a lot of corporate work, and I'm getting a lot of corporate narration or corporate scripts, and I've never worked in corporate America, and I have no idea what it's like, just go somewhere, be in a big tall glass building with people who wear suits and see what it feels like, right? See what they eat and drink, hear how they talk. Or just go to a Starbucks. You'll see 'em in Starbucks, hear how they talk. So that you're not necessarily mimicking them, but you're getting an essence, a suggestion of where you wanna head towards that may be very different from your world and your existence. You wanna talk the lingo, have a sense of that.    Anne: Yeah, absolutely. You wanna be able to align to the environment, right? And I think, Lau, if I said to you, is improv important in promos?    Lau: Improv is important in everything,    Anne: Right. So why? I'm playing the devil's advocate here. I'm thinking my students would be like, yeah, but you don't really need to improv in a promo, or you don't need to improv when you're doing a phone system. And I would tend to disagree with you heartily. I think improv is needed everywhere. I'd like your take on that, Lau.    Lau: I agree. As I said, I think it's an immense tool to find your interpretation. Like if I'm gonna give more than one take, or let's say I'm just dealing with an in-house client. I'm not auditioning; they're just calling me and I'm giving them takes, I'm gonna say, wait a second, who's calling? Like, who are the people that are calling? What if I have an impatient person calling going to the system, right? I have a person who's a seller or pitcher calling? What if I have a young teenage person calling the system? How am I coming across to them? How would I speak to them differently and what their different needs are? That would be an improv tool that I would start to be utilizing in that telephony or whatever system.   Anne: And if you're a voice for a healthcare system, right? Okay, somebody's calling for an appointment, right? They're nervous, they're not feeling well, or you know what I mean? They want the results of their test. Understand who it is that you are going to be talking to, right, and then talk to them. I always say that when I read the back of pharmaceutical labels, I do medical narration, and I want to be able to speak to that person who is nervously looking at the back of the bottle and saying, oh my God, I have all of these symptoms. That's me, by the way. I have every single symptom ever known. And who do I call in case I die? That kind of thing. I'm taking that lightly, but I really do think about the person that's going to be looking at this bottle and what I'm voicing and I'm improv-ing, right? I'm playing that scene out in my head so that I can voice it better.    And so that's for medical narration, and for promos, you know, tonight, like if you're doing like a television promos, right? Still, you've gotta get into the mindset of who's the audience that watches this show, and how can you -- hey, oh my God, did you catch the latest episode of — that kind of thing? You've got to get into their mindset 'cause you're talking to them. And that is where improv will come into play, right? Know that network, know that show. Be the person that watches that show and talk to them.    Lau: And if anything, if you don't believe in anything we're saying, just talk and listen to people talking because that's one big, huge improvisation. Conversation is just one big, huge improv. Life is one big, huge improv 'cause we don't really know what's coming up next. So you don't have to perform, you don't have to act, you don't have to do anything other than listen, observe and communicate. Because then you're improv-ing.    Anne: And I will tell you that every other month, or at least once a quarter, if you join the VO Peeps, we do have a workshop that covers improv. We do it. I think it's necessary to continually just keep your skills up. And I know, Lau, I'm sure you have something is part of your group as well?   Lau: We do. We have a Monday night improv mania that runs. It's a lot of actors, a lot of VO talent. A lot of people come in, even just people who are in business come in and they just want to --   Anne: And it's so much fun.    Lau: Fun. Yeah. They wanna free themselves, wanna be free.    Anne: And that's the thing. Yeah, improv should be fun. It shouldn't be stressful. And the only way that you're gonna make it fun is by doing it really. And just getting yourself used to it and getting those responses quicker and quicker and quicker. And thinking off the cuff. And it will always help you especially — I've just had a conversation with Dave Fennoy talking about video games. You know, the storyline and video games is constantly evolving and changing. Improv is huge. You may prepare your character for one set of scenes, and then when you get to the studio to record somebody's changed the script on you. And that could be for video games, that could be for commercial, it could be for any script where you might have last minute changes. So I think it's so important, guys, that we are well-versed in improv, know how important it is and go out there and practice it.    Lau: I love it. Here we go. Ready for the improv of life.   Anne: The Improv of life. You guys, I'm gonna give a great big sponsor shout-out to ipDTL. You too can connect and network like a BOSS. Find out more at ipdtl.com. And I also want to give a shout-out to 100 Voices Who Care. This is your chance to make an immediate difference in our world and give back to the communities that give to you. 100voiceswhocare.org to commit. Thanks so much, guys. Have an amazing week and we'll see you next week.   Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voBOSS.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

Welcome to the Instant Trivia podcast episode 788, where we ask the best trivia on the Internet. Round 1. Category: a christmas carol 1: City in which the story is set. London. 2: This bird Scrooge sent the Cratchits for Christmas dinner was "twice the size of Tiny Tim". turkey. 3: "A partridge in a pear tree". "The Twelve Days of Christmas". 4: "Good tidings we bring to you and your kin, we wish you good tidings for Christmas and a Happy New Year". "We Wish You A Merry Christmas". 5: "And heav'n and nature sing, and heav'n and nature sing, and heav'n and heav'n and nature sing". "Joy to the World". Round 2. Category: pins 1: Louis Henry and Bruce Ancona hold a patent on one of these that'll hold your undies on the line. clothespin. 2: A dowel pin is used by these health professionals to support crowns. dentists. 3: Aye, matey, it's what's normally belayed on a belaying pin. line/rope. 4: In a gun, it strikes the cartridge, setting off the propelling charge. firing pin. 5: Ooh! Ooh! Horshack knows it has a split end that's spread after being put through a hole. cotter pin. Round 3. Category: school's out! 1: This summer I might try to hike this scenic trail that runs about 2,100 miles from Maine to Georgia. Appalachian Trail. 2: Before my job interview, I'd better polish up and type up this document, from the French for "summarize". Resume. 3: I'm working on Dad's old Saab so I can drive it, and I just learned it's a car from this country. Sweden. 4: With classes in this field next term, on the break I'm reading books by Meisner and Stanislavsky. Acting. 5: Let's go! I'm heading to this popular spring break city in Florida that's home to "Bike Week". Daytona Beach. Round 4. Category: nashville 1: This president's home, the Hermitage, is located on Rachel's Lane. Andrew Jackson. 2: In 1873 Central University was renamed this for the "Commodore" who gave it a $1 million gift. Vanderbilt. 3: This singer's museum near Nashville has a section featuring the Carter family. Johnny Cash. 4: From 1943 to 1974, Ryman auditorium was the broadcast site of this radio program. the Grand Ole Opry. 5: Nashville's Parthenon has a 42-foot replica of this goddess. Athena. Round 5. Category: car tunes 1: Prince drove this tiny title auto to No. 6 in 1983. "Little Red Corvette". 2: This "Little" Beach Boys vehicle can "do a hundred and forty with the top end floored". "Little Deuce Coupe". 3: He had a 2-part request in the title of his 1988 No. 1 hit: "Get Outta My Dreams, Get Into My Car". Billy Ocean. 4: As a metaphor for her Southern childhood, Lucinda Williams sang of "Car Wheels On" this type of road. a gravel road. 5: In 1976 Rose Royce did the dirty work and went to No. 1 "employed" here (Whoa Whoa Whoa Whoa!). "Car Wash". Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

How does actor make act? These questions and more solved in a very special Citizen Kane Vs podlet.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5070447/advertisement

2 1/2 hours of Old Time Radio celebrating Valentine's Day!The Aldrich Family. February 11, 1943. NBC net. Sponsored by: Postum. Henry and his sister Mary have both scheduled Valentine's Day parties. In fact, there are lots of parties! The first 27:50 of the program only. Dan Seymour (announcer), Clifford Goldsmith (writer), House Jameson, Norman Tokar, Dickie JonesThe First Nighter Program. February 12, 1948. CBS net. "Love Is Stranger Than Fiction". Sponsored by: Campana cosmetics, DDD Prescription. Comedy/romance about a publisher's secretary who turns out to be a best selling author. Larry Keating (announcer), Irving Teitle (writer), Willard Waterman, Virginia Gregg, Herb Butterfield, Jerry Hausner, Olan Soule, Barbara Luddy, Frank Worth (conductor). The Danny Kaye Show. February 10, 1945. Program #5. CBS net origination, AFRS rebroadcast. Harry James and Kitty Kallen join Danny in a play about "Cupid." Danny sings "It's Never To Late To Mendelssohn," and "Stanislavsky." Show has a cute custom-recorded AFRS ending by Danny. AFRS program name: "Danny Kaye." See cat. #52410 for a network, sponsored version of this boradcast. Danny Kaye, Ken Niles (announcer), Harry James and His Orchestra, Lionel Stander, Kitty Kallen, Buddy De Vito, Eve Arden, Bob Jellison, Dick Mack (director). The Signal Carnival. February 9, 1941. NBC Pacific net. Sponsored by: Signal Oil. A Valentine's Day show. The first tune is, "So Sweet." Kay's first tune is, "There'll Be Some Changes Made." Vera Vague visits an army camp to see her boyfriend, Waldo. Gordon Jenkins and His Orchestra, Johnny Fraser (announcer), Kay St. Germaine, Barbara Jo Allen, Jack Carson, Dave Willock, The Signalaires.  Suspense. March 3, 1949. CBS net. "The Lovebirds". Sponsored by: Auto-Lite. A wife is trying to kill her husband, while everyone is sure that they're just romantic "lovebirds." Anton M. Leader (producer, director), Shirl Hendricks (writer), Harlow Wilcox (commercial spokesman), Harold Swanton (adaptor), Joan Fontaine, Lester Schott, Lucien Moraweck (composer), Lud Gluskin (conductor), William Johnstone, Paul Frees (announcer). 

The discussion begins with a review of a recentproduction of “Who's Afraid of Virginia Woolf” by a Modern Orthodox Jewish cast and crew at the Jerusalem Theater. Prof. Juni had organized a sizable group of friends and colleagues who attended the play and then participated in a focuseddiscussion group with the producer, crew, and key actors. The discussion is enriched by R. Kivelevitz's encyclopedic mastery of the world of cinema and theater and its history. The discussants compare and contrast the dynamics ofthe intended message (if any) which is evident in Method Acting vs. those one observes in such popular critically acclaimed fare as The Marvelous Miss Maisel and Curb Your Enthusiasm. Juni argues that – in the latter – Larry David actually manages to bring Method Acting to a new high as he merely assignsspecific roles and scenarios allowing each actor to improvise their lines while the camera rolls. The main focus of the discussion between Juni and Rabbi Kivelevitz was on the pros and cons of Method Acting, with particular attention to its potential as a means to insight and self-discovery. Whereas the Stanislavsky approach was designed with attention to the psyche of the actors, Juni is a proponent of using theater as a vicarious therapeutic emotional experience for the audience. Elaborating on his approach, Juni grounds hisposition on several postulates: Freud's idea of Polymorphous Perversitywhich asserts that we all have unresolved conflicts in every feasible conflictarea; Jacob Moreno's hypotheses that actionengenders latent underlying emotions; Cognitive Dissonance Theory which claimsthat feelings will be created artificially when one behaves in a dramatic manner. Juni extolls the psychological virtues of Method Acting (in contrast to the Classical R. Kivelevitz introduces the “Jewish connection”into the discussion by pointing to Stella Adler's adaptation of Method Actingand its pivotal role in shaping Yiddish American Theater. He also engages Juni as they critique the confabulation of modern theater and the worldview of Orthodox Judaism – as the pair explore the dissonance that may be experienced by Modern Orthodox directors, actors, and audiences which elicits visceral responses totheir presentations.

The discussion begins with a review of a recent production of “Who's Afraid of Virginia Woolf” by a Modern Orthodox Jewish cast and crew at the Jerusalem Theater. Prof. Juni had organized a sizable group of friends and colleagues who attended the play and then participated in a focus group with the producer, crew, and key actors. The discussion is enriched by R. Kivelevitz's encyclopedic mastery of the world of cinema and theater and its history. The discussants compare and contrast the dynamics of the intended message (if any) which is evident in Method Acting vs. those one observes in such popular critically acclaimed fare as The Marvelous Miss Maisel and Curb Your Enthusiasm. Juni argues that – in the latter – Larry David actually manages to bring Method Acting to a new high as he merely assigns specific roles and scenarios allowing each actor to improvise their lines while the camera rolls. R. Kivelevitz manages to maneuver Juni into sharingsome of his personal experiences as a “ham actor” in a number of performances –and to relate them to his current psychoanalytic perspective. The main focus of the discussion between Juni and Rabbi Kivelevitz was on the pros and cons of Method Acting, with particular attention to its potential as a means to insight and self-discovery. Whereas the Stanislavsky approach was designed with attention to the psyche of the actors, Juni is a proponent of using theater as a vicarious therapeutic emotional experience for the audience. Elaborating on his approach, Juni grounds hisposition on several postulates: A. Freud's idea of Polymorphous Perversitywhich asserts that we all have unresolved conflicts in every feasible conflictarea; B. Jacob Moreno's hypotheses that actionengenders latent underlying emotions; C. Cognitive Dissonance Theory which claimsthat feelings will be created artificially when one behaves in a dramatic manner. Juni combines these diverse ideas as he argues that theateraudience members will inevitably be “dawn into” identifying with the protagonists if they leave themselves open to the experience. R. Kivelevitz points out that classic authors of fiction capitalize on this very orientation as well asin the construction and wording of their narratives. Juni extolls the psychological virtues of Method Acting (in contrast to the Classical Shakespearean Style which stresses context and the Objective Approach). R. Kivelevitz introduces the “Jewish connection”into the discussion by pointing to Stella Adler's adaptation of Method Actingand its pivotal role in shaping Yiddish American Theater. He also engages Juni as they critique the confabulation of modern theater and the worldview of Orthodox Judaism – as the pair explore the dissonance that may be experienced by Modern Orthodox directors, actors, and audiences which elicits visceral responses to their presentations. R.Kivelevitz concludes by lauding a novel contemporary approach in self-discovery known as Improv Therapy, relating its rationale to a number of the points and dynamics raised in the discussion. Prof. Juni is one of the foremost research psychologists in the world today. He has published ground-breaking original research in seventy different peer reviewed journals and is cited continuously with respect by colleagues and experts in the field who have built on his theories and observations. He studied in Yeshivas Chaim Berlin under Rav Yitzchak Hutner, and in Yeshiva University as a Talmid of Rav Joseph Dov Soloveitchik. Dr. Juni is a board member of the Association of Orthodox Jewish Scientists and has regularly presented addresses to captivated audiences. Associated with NYU since 1979, Juni has served as Director of PhD programs, all the while heading teams engaged in cutting-edge research. Professor Juni's scholarship on aberrant behavior across the cultural, ethnic, and religious spectrum is founded on psychometric methodology and based on a psychodynamic psychopathology perspective. He is arguably the preeminent expert in Differential Diagnostics, with each of his myriad studies entailing parallel efforts in theory construction and empirical data collection from normative and clinical populations. Professor Juni created and directed the NYU Graduate Program in Tel Aviv titled Cross-Cultural Group Dynamics in Stressful Environments. Based in Yerushalayim, he collaborates with Israeli academic and mental health specialists in the study of dissonant factors and tensions in the Arab-Israeli conflict and those within the Orthodox Jewish community, while exploring personality challenges of second-generation Holocaust survivors. Below is a partial list of the professional journals where Professor Juni has published 120 theoretical articles and his research findings (many are available online): Journal of Forensic Psychology; Journal of Aggression, Maltreatment, and Trauma; International Review of Victimology; The Journal of Nervous and Mental Disease; International Forum of Psychoanalysis; Journal of Personality Assessment; Journal of Abnormal Psychology; Journal of Psychoanalytic Anthropology; Psychophysiology; Psychology and Human Development; Journal of Sex Research; Journal of Psychology and Judaism; Contemporary Family Therapy; American Journal on Addictions; Journal of Criminal Psychology; Mental Health, Religion, and Culture. As Rosh Beis Medrash, Rabbi Avraham Kivelevitz serves as Rav and Posek for the morning minyan at IDT. Hundreds of listeners around the globe look forward to his weekly Shiur in Tshuvos and Poskim. Rav Kivelevitz is a Maggid Shiur for Dirshu International in Talmud and Halacha as well as a Dayan with the Beth Din of America.

Happy New Year!!! For the final episode of 2022 we welcome notorious acting coach, director, producer, and all-around Hollywood talent Michelle Danner on the show! She and Joe discuss her history in acting, what current projects she is focused on, and how her unique approach to teaching actors has lead to her specific style of crafting a "golden toolbox" of resources for each individual. We hope you had a fantastic end to the year, this year was a really great one which reflected a lot of growth for the show. We're excited to show everyone what we have planned for 2023. Enjoy! About Michelle Danner Based on Michelle Danner's last 30 years of supporting both A-List and up and coming actors to fulfill their maximum potential, film director and international acting coach Michelle Danner has distilled the best ideas and practices of the major acting techniques; Stella Adler, The Sanford Meisner, Lee Strasberg, Uta Hagen, Chekhov, & Stanislavsky so artists can draw upon them and utilize the strengths of each. Every actor is unique, so you will learn to form a toolbox of your own, your very own “Golden Box”. Through studying Michelle Danner's acting technique you will accumulate a comprehensive set of “acting tools” you can use when approaching a role or a scene, whether it be for film, television, or theatre. Make sure to check out the NEW Dtalkspodcast.com website! Thanks to Empire Toys for this episode of the podcast! Nostalgia is something everyone loves and Empire Toys in Keller Texas is on nostalgia overload.   With toys and action figures from the 70's, 80's, 90's, and today, Empire Toys is a one-stop-shop for a trip down memory lane and a chance to reclaim what was once yours (but likely sold at a garage sale)   Check out Empire Toys on Facebook, Instagram, or at TheEmpireToys.com AND Thanks to Self Unbound for this episode of the podcast: Your quality of life: physically, emotionally, mentally, and spiritually, is a direct reflection of the level of abundant energy, ease, and connection your nervous system has to experience your life!    At Self Unbound, your nervous system takes center stage as we help unbind your limited healing potential through NetworkSpinal Care.    Access the first steps to your Unbound journey by following us on Facebook, Instagram, or at www.selfunbound.com   The DTALKS Podcast has also been ranked #9 in the "Top 40 Detox Podcast You Must Follow in 2020" according to Feedspot.com for our work in the Cultural Detox space. Thank you so much to the Feedspot team!  https://blog.feedspot.com/detox_podcasts/

Fabian Arnold is an American actor from Germany raised in Cologne, Germany. He moved to Los Angeles in 2022 and made his debut into the industry appearing as Wolgang the trainer in the short film, Boomslang 3 with John Waters. He started with a private acting coach in Germany learning different technics with focus on Stanislavsky. In LA he went to Graham Shiels Studios and also Groundlings School for Improv. Aside from his acting career, Arnold has modeled for brands such as Versace, MCM and Givenchy all around the world and lived in Milan, Sydney, Singapore, LA, NY and London. He is very interested in every kind of sports and used to play soccer, handball and football. In Germany he won the German Flag Football Bowl and became MVP Defense of his state. He started his Social Media Career in 2017 and grew his plattforms over 3 Mio Followers total. After Highschool he graduated at the university of cologne - bachelor of science in insurance and became one of the best students of his year. During his backpacking year in Australia he caught interest in Self education and personal growth --- Send in a voice message: https://anchor.fm/steven-cuoco/message Support this podcast: https://anchor.fm/steven-cuoco/support

"The students tell me, without saying it, what they need to be taught." Melissa chats with the amazing Milton Justice. This Emmy and Oscar winner finds teaching actors is his true passion. He is the author of I Don't Need an Acting Class and has a successful podcast with the same name. Melissa and Milton talk about the parallels between teaching and acting. 

The Lord is raising so many up to impact Hollywood with content that is pleasing to the Lord.  Today's guest, Candace Kirkpatrick is an award winning actress who commands attention whenever she is on stage.  She has been acting since she was a young child.  Candace graduated valedictorian of her class which earned her a full ride where she studied Performance Arts studying Stanislavsky, Uta Hagen, and Meisner.  After 2 decades being called out of the industry by the Lord, He brought her back where she has been continuously working and impacting others with her talents.  She is a christian female artist making such a huge impact in our entertainment industry with good, wholesome, encouraging content! For more information or to watch Candace in some of the many movies, TV, or film she has done go to: https://www.imdb.com/name/nm0505379/bio?ref_=nm_ov_bio_smCandace Kirkpatrick - https://candacekirkpatrick.com/ Yippee tv - https://watch.yippee.tv/ PureFlix - https://www.pureflix.com/discover?_ga=2.205844311.554705461.1664305083-2010426262.1664305083Sponsors for Today's Video:Esther's Timeless Beauty Pack - https://b4a.mymfinity.com/Dr. Mark Sherwood - www.sherwood.tv/B4A/Collagen Elixir - https://getstarted.isagenix.com/5HDE68T9V004Kirk Elliott PhD - https://kirkelliottphd.com/b4a/Holy Hydrogen - Promo Code B4A https://www.holyhydrogen.comWebsite Design/Hosting Blaze Team - Mention ‘Tania' - https://blaze.team/ Curativa Bay - Promo Code B4A https://www.curativabay.comMyPillow - https://www.mypillow.com/b4a Dr Stella - Promo Code B4A https://drstellamd.com/ ---------------------------------SUPPORT

Katie checks in with Artistic Director and Producer of the Mint Theater, Jonathan Bank.

Eleonora Duse was an actress ahead of her time. As a performer in the late 19th century when elaborate gestures, exotic costumes and lavish decors were the norm, Eleonora Duse stunned audiences with her truthfulness and intense absorption in the characters she played. She wore no make-up, you could see her blush or turn pale, she was a master of subtle body language and vocal modulation, and her aim was to eliminate the self and become her characters. Today she is often credited with having inspired modern acting, and the Russian theatre director Stanislavsky saw her as the perfect actress, and was greatly influenced by her when he created his acting method. Born in 1858 in what is now northern Italy, Eleonora Duse started acting at the age of four years old with her family's touring theatre troupe. By her twenties, working as both a theatre manager and a performer, she began to achieve worldwide popularity, travelling all over the world, from South America to Russia to Egypt. She was soon acknowledged as one of the greatest actresses of her generation and her independent lifestyle turned her into an early feminist icon. So what was the secret of her genius and why is she largely forgotten today? And with no recordings of her voice, how do we know she was such a great performer? Joining Bridget Kendall is Dr Anna Sica, Professor of Theatre at the University of Palermo in Italy, author of The Murray Edwards Duse Collection, and D'Amore e D'Arte, the letters written to Duse from her Russian lover Alexander Wolkoff, soon to be published in English. Professor Paul Fryer, the co-editor of an essay collection on Eleonora Duse and Cenere (Cenere is the Italian word for Ashes, the title of the silent film Duse made in 1916, and the only record of Duse actually performing). Paul Fryer also directs the Stanislavsky research centre at the University of Leeds. And Dr Enza de Francisci, lecturer in Translation studies at the University of Glasgow, who specialises in the critical reception of Duse's plays, and is the author of A 'New' Woman in Verga and Pirandello: From Page to Stage. The reader is Cecilia Gragnani. Produced by Anne Khazam for the BBC World Service. (Photo: Eleonora Duse in “Lady of the Camelias” by Alexandre Dumas Fils. Credit: ullstein bild/ullstein bild via Getty Images)

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

Welcome back! On today's episode, we tell true stories about our real-life uncles and the uncle-ish things that they say! After each story, we do an improvised phone call between a fictional uncle and his nephew/niece, in the hopes of finding some empathy for—or at least a better understanding of—these weirdos on our family trees. Also, yes nerds, Charlie meant "Strasberg" when she said "Stanislavsky."NOTE: We are specifically talking about cis uncles today. We may not have been clear about that in the episode. CONTENT WARNINGS: Discussions of sex and transphobia. The first improv scene contains a fictional instance of misgendering, because uncles.LINKS:Our Patreon (for $5/month, you get an episode of bonus content every other week!)Our TwitterAri's TwitterCover artist: Isabel PereiraAri's and Isabel's Webcomic: MothorialMusic composition and arrangement: FlorrifyTheme by Garrett Stein-SeroussiCo-produced by New 32 Productions (indie media company co-owned by Charlie)RESOURCES:TRANS LIFELINETHE TREVOR PROJECTBLACK TRANS ADVOCACY COALITIONIT GETS BETTER PROJECTFriendly reminder that we're NOT experts in gender studies, psychology, or trans history!Questions? Feedback? Email us at yesandrogyny@gmail.com! See acast.com/privacy for privacy and opt-out information.

Andrew is a director and composer who has been involved in a variety of projects across the artistic industry. From plays, musicals, cabaret, opera, and ballet he is a man who loves the arts! I've had the pleasure of being taught by Andrew at GSA, looking at the play Rabbit Hole by David Lindsay-Abaire, how to breakdown the text, learn lines mechanically, but not perform mechanically. Perform with one thought to the next, engaging and listening to your scene partner, and live in the moment without wondering what your next line is. Andrew discusses the work of Samford Meisner, his links to Stanislavsky, Stella Adler, and Lee Strasberg, and how actors achieve their best work through listening to each other. As well as, how he approaches projects through a director's lens, his love for music, and how he likes to see the world of a play come together. Oliver Gower SPOTLIGHT PIN: 9097-9058-5261 Instagram: goweroliver Twitter: @GowerCritic --- Send in a voice message: https://anchor.fm/oliver-gower/message

durée : 00:42:18 - Une semaine en France - par : Claire Servajean - Ce soir, nous sommes avec Laurent Hilaire, danseur étoile, et ancien directeur du ballet du théâtre Stanislavsky à Moscou qu'il a quitté tout récemment à cause de la guerre en Ukraine. - invités : Laurent HILAIRE - Laurent Hilaire : Maître de ballet à l'Opéra de Paris. - réalisé par : Juliette GOUX

Super objetivos de Konstantin Stanislavski ¿Qué es?

Developing approaches to theatre that fit the needs and experiences of performers of color, particularly Black artists, has long been a pressing concern for the American stage. Actor training has been dominated by Eurocentric approaches based on theorists such as Stanislavsky, which are geared towards a repertoire that's heavy with White authors such as Shakespeare and Ibsen.   In the 20th century, the Black Arts Movement challenged these prevailing influences, offering work that spoke to Black experiences in the United States and developing new approaches to producing the movement's plays. However, one of its most important figures, Ernie McClintock, has been underappreciated in histories of the movement. Dr. Ibby Cizmar has been working to reappraise McClintock's career and situate him within the larger Black Arts Movement, and she joins us in this episode to discuss his life and work.

Learning to act is not something you do in one year. It takes a lifetime. In the same way, doing a play isn't something you can take on in one night. It's a process. Stella told a student once that if she could learn one new thing a year, she'd be on the right path. Stanislavsky likened doing a play to going on a journey and making many unexpected stops along the way that added to the overall journey. These lessons remind us that the creative process is never linear or finite. With each project and with our craft, we take on as much as we can, knowing that there are always more stops on the way to our destination, always more to revisit and explore. Have a question for Milton? Email him at questionsformilton@gmail.com --- Support this podcast: https://anchor.fm/actingclass/support

The lineage of this podcast is derived from the teaching of Stanislavsky and Milton's teacher Stella Adler, who, among other things, taught her students to aspire towards the big ideas we communicate as actors, (ideas which are far bigger than us.) This is the thrill of acting— entering a different universe, a different skin. It is always a chance for growth. “Your attitude shouldn't be: oh, I have to build that,” says Milton, “but rather I get to build that. Every fact of a play affords you a fabulous opportunity.” Have a question for Milton? Email him at questionsformilton@gmail.com --- Support this podcast: https://anchor.fm/actingclass/support

Matt and Bowen convene to discuss the concept of a Night of a Thousand J. Lo's, deep dive on Lady Gaga's actor-forward Oscar campaign, perform Lisa Barlow's hit mic monologue and debut Provincetown's new theme song. Also, Viva Las Culturistas and ALSO Viva Las Vegas, as Matt prepares to see Katy Perry in the City of Sin for his birthday and Bowen reveals that not only that he has come around on “Daisies” but also exchanged pleasantries with Mrs. Orlando Bloom herself. All this, and the following questions: do we actually want Carrie and Steve to fuck? Would you do Dancing with the Stars? What would you do if you heard your best friend saying that hated you because you're a “garbage whore”? Disclaimer: “The Woman In The Window...” with Kristen Bell is spoiled in this episode so skip ahead a few minutes from where that discussion begins. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Como ser ator ou atriz no Brasil? O curso online do Thiago Carvalho ensina o mesmo método que formou os melhores atores e atrizes do mundo: O Método Stanislavsky, também conhecido como Method Acting. O Thiago (@thiago.carvalho.nts) é Ator e Diretor do Instituto Stanislavsky. O instituto já ensinou mais de 4.000 alunos, possui várias produções premiadas e hoje você vai conhecer como o Instituto Stanislavsky migrou das aulas presenciais para as aulas online. Vai descobrir também por que ele pretende nunca mais voltar a dar aulas presenciais. Você vai descobrir como a maior escola de atuação do país consegue entregar um curso de formação de atores e atrizes pela internet e dominar um mercado ainda inexplorado pelos co-produtores do marketing digital. Quais são as estratégias de vendas para vender uma formação em atuação? O que um ator premiado pode te ensinar sobre gravar vídeos na frente da câmera? Estratégias serão reveladas. Funis serão abertos na sua frente. E muita cultura espera por você no Kiwicast de hoje. ________________________________________________________________________________________________ Visite o instagram do Thiago: https://www.instagram.com/thiago.carvalho.nts/ Visite nosso instagram: https://www.instagram.com/kiwify.br/ Comece a vender seu curso online com a Kiwify: https://kiwify.com.br/

Authenticity is a critical component to connecting with others and creating an emotional connection.  But, there are times when we may need to put a little technique into our authentic selves.  Some may refer to this as acting. I am not saying we should pretend to be someone else while we're trying to make that next sale, or close that next big deal or even create that next compelling piece of content.  But, understand the craft of acting could help you leverage the power of storytelling in ways that will make you more memorable, more relatable, and even more authentic. Based on Michelle Danner's last 30 years of supporting both A-List and up and coming actors to fulfill their maximum potential, film director and international acting coach Michelle Danner has distilled the best ideas and practices of the major acting techniques; Stella Adler, The Sanford Meisner, Lee Strasberg, Uta Hagen, Chekhov, & Stanislavsky so artists can draw upon them and utilize the strengths of each. Every actor is unique, so you will learn to form a toolbox of your own, your very own “Golden Box”. Through studying Michelle Danner's acting technique you will accumulate a comprehensive set of “acting tools” you can use when approaching a role or a scene, whether it be for film, television, theater or business.

In our final instalment of diving into the world of Stanislavski we explore another heavyweight topic from the world of Acting Craft. ACTIONS! What you will find out in the episode! about inner actions and external actions and how they have a deep connection. How actions can be a direct way of accessing emotions. Why everything you do in acting has to have a purpose. What you won't find out! whether Stanislavski should be spelled Stanislavski or Stanislavsky.

Thanks for listening! This week actor, activist, and artistic co-founder of The Song Collective joins me from his amazing sound booth to talk about his work. He shares his journey to becoming an actor in New York City, his founding of The Song Collective which works to amplify voices from the Vietnamese diaspora and to provide creative space for Artists of Color, and how he has dived into audiobook narration. We talk everything from stage combat, to networking, to the best way to get on a pair of 5 foot stilts. As always we concluded with the eternal question, “Are You Okay?” But, spoiler alert… we weren't. xo, Pamela LISTEN/SUBSCRIBE TO THIS PODCAST Apple Podcasts: https://podcasts.apple.com/us/podcast/no-ones-okay/id1495487224 Spotify: https://open.spotify.com/show/71zwoGcKEgZ8FvMVcwPawh?si=85kZIupGTICYMvarnmw0ag Stitcher: https://www.stitcher.com/show/no-ones-okay NO ONE'S OKAY SCHEDULE New Episodes every Tuesday BASED ON SCHEDULE New Episodes every other Monday CONNECT WITH US Website- http://www.noonesokay.com SOCIAL MEDIA Instagram- https://www.instagram.com/noonesokay @PamelaPortnoy DAVID LEE HUYNH https://www.instagram.com/huynhsome/?hl=en THE SONG COLLECTIVE https://www.instagram.com/thesongcollective/?hl=en #NoOnesOkayPodcast #DavidLeeHuynh #TheSongCollective

In which we talk about Doreen Cannon. One of the most important figures in the history of British Actor training. With very special guests Annie Tyson and John Bechizza. John BeschizzaJohn is the Lead Acting Tutor at Rada and teaches Acting Technique and Scene Study on the BA (Hons). RADA. He trained at The Drama Centre under co-founders Christopher Fettes, Yat Malmgren and the legendary Acting Tutor and first Head of Acting, Doreen Cannon – three of the most innovative and rigorous theatre practitioners and teachers of the 20th century. The challenges of training at the Drama Centre were immense; the rewards were life-changing. It was here that some of the greatest discoveries were made under the guidance of Doreen, who as Head of Acting at RADA in 1994 offered John the opportunity to teach Acting at RADA.The techniques he provides are simple, clear and specific and when fully engaged evoke a visceral gut, heart and head understanding of the acting process. He works for one goal: to guide the actor-trainee into transforming their raw, instinctive talent into real, dependable skill.John maintains a standard of excellence in his work, evident through the specificity and rigour of his teaching. Over 27 years, this has developed into a highly practical way of working that serves the ever-changing requirements and challenges of today's industry.Annie TysonANNIE TYSON Annie read Drama and Theatre Arts at Birmingham University before training at Drama Centre London where Doreen Cannon was amongst her teachers. She worked as an actor in regional theatre, in London and in TV and radio. Recent acting work has included work at the Octagon Theatre Bolton in Arthur Miller's The Last Yankee, the White Bear Theatre in An Honourable Man and the Park Theatre in Hell Yes, I'm Tough Enough.At Drama Centre London she was Course Director of the BA Honours Acting Course 2002-2010. Her public productions there included All's Well That Ends Well, Wild Oats, Mary Stuart, A Laughing Matter, Love's Labours Lost, Richard III, The Winter's Tale, The Second Mrs Tanqueray, Mother Courage.  She continued as an acting tutor and director there until Spring 2018  while also working at RADA. She directed Love For Love in the Vanbrugh theatre in 2013and Strange Orchestra in 2017. She directed Macbeth February 2020. She was part of the core team for the Royal Shakespeare Company's project Open Stages, running acting workshops for Dream 16 – A Play For the Nation. She has given masterclasses in Restoration Comedy at the Carnegie Mellon School of Drama where she directed The Rivals in 2012. She has contributed to the book Approaches to Actor Training and her book for the Crowood Press, Successful Auditions will be published next spring. She is writing for the next series of Arden Performance Handbooks for Bloomsbury Methuen: Shakespeare and Stanislavsky. She regularly gives both classical and contemporary audition workshops for The Mono Box of which she is a Patronand is an Open Door mentor.    Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=EKHEKXBAZBQG6¤cy_code=GBP)

In which we read John Gielgud's views on Stanislavsky. From January 1937. Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=EKHEKXBAZBQG6¤cy_code=GBP)

Andrey Skvortsov is a Co-founder and CEO of a communication company Mercator Group and a Co-founder of personnel assessment company Azimut Business Solutions. Andrey is an expert in the field of corporate communications. Author of films and presentations for companies such as Sberbank, Russian Railways, Gazprom, MMK, Yota, Orange, Kaspersky, PwC, Vimetco, MICEX, Rostelecom, Rusnano, Sibur and others. Winner of the Investment Presentation Competition at the Harvard Business School (OPM-38 course). He is the curator of the information graphics service of the Russia-1 TV channel, as well as the projects "Russia in Figures" and "Big Country" of the Russia-24 TV channel, "Moscow in Figures" and "Convenient Moscow" of the Moscow-24 TV channel. Academician of the Academy of Russian Television. Host of the weather forecast on NTV (in 2012, he was recognized as the best correspondent of the infotainment genre on New York Festivals). In 2013 - the host of the "Frank PR" program on the PRO-business TV channel. In 2014-2015. hosted a tourist program "It's good where we are!" on NTV. Member of the jury and supervisory board of New York Festivals from Russia. Leads author's seminars and masterclasses "Infographics", "Visual Allegories", "Presentation Cinema" and "Public Speeches". Lecturer in public speaking at the Skolkovo business school. Author of the cartoon "Stanislavsky's System for the Speaker." A regular contributor to the Harvard Business Review. FIND ANDREY ON SOCIAL MEDIA LinkedIn | Facebook | Instagram | TikTok ================================ SUPPORT & CONNECT: Support on Patreon: https://www.patreon.com/denofrich Twitter: https://twitter.com/denofrich Facebook: https://www.facebook.com/denofrich YouTube: https://www.youtube.com/denofrich Instagram: https://www.instagram.com/den_of_rich/ Hashtag: #denofrich © Copyright 2022 Den of Rich. All rights reserved.

Andrey Skvortsov is a Co-founder and CEO of a communication company Mercator Group and a Co-founder of personnel assessment company Azimut Business Solutions. Andrey is an expert in the field of corporate communications. Author of films and presentations for companies such as Sberbank, Russian Railways, Gazprom, MMK, Yota, Orange, Kaspersky, PwC, Vimetco, MICEX, Rostelecom, Rusnano, Sibur and others. Winner of the Investment Presentation Competition at the Harvard Business School (OPM-38 course).He is curator of the information graphics service of the Russia-1 TV channel, as well as the projects "Russia in Figures" and "Big Country" of the Russia-24 TV channel, "Moscow in Figures" and "Convenient Moscow" of the Moscow-24 TV channel. Academician of the Academy of Russian Television.Host of weather forecast on NTV (in 2012, he was recognized as the best correspondent of the infotainment genre on New York Festivals). In 2013 - the host of the "Frank PR" program on the PRO-business TV channel. In 2014-2015. hosted a tourist program "It's good where we are!" on NTV. Member of the jury and supervisory board of New York Festivals from Russia.Leads author's seminars and master classes "Infographics", "Visual Allegories", "Presentation Cinema" and "Public Speeches". Lecturer in public speaking at the Skolkovo business school. Author of the cartoon "Stanislavsky's System for the Speaker." A regular contributor to the Harvard Business Review.FIND ANDREY ON SOCIAL MEDIALinkedIn | Facebook | Instagram | TikTok================================PODCAST INFO:Podcast website: https://www.uhnwidata.com/podcastApple podcast: https://apple.co/3kqOA7QSpotify: https://spoti.fi/2UOtE1AGoogle podcast: https://bit.ly/3jmA7ulSUPPORT & CONNECT:Support on Patreon: https://www.patreon.com/denofrichTwitter: https://www.instagram.com/denofrich/Instagram: https://www.instagram.com/denofrich/Facebook: https://www.facebook.com/denofrich

This episode includes an extract from Vladimir Mirodan's excellent paper The first class: Harold Lang and the beginnings of Stanislavskian teaching in the British conservatoire. Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=EKHEKXBAZBQG6¤cy_code=GBP)

In which we discuss Jean Benedetti; Rose Bruford and Lamda's recent NSS results and why Stanislavsky really wrote his books. Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=EKHEKXBAZBQG6¤cy_code=GBP)

In which we read Saint Denis' essay on the application of the Stanislavsky approach, and it's American interpretation as the method, to the plays of Shakespeare…and perhaps understand something about the ideas underpinning the teaching at the LTS and the Old Vic School. The image is of Susanne Bing as Viola. Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=EKHEKXBAZBQG6¤cy_code=GBP)

Multifaceted not-for-profit organisation Imuducation that develops and delivers educational programs, performance arts programs, parental seminars and charitable projects has launched the Stanislavsky + project for children from 13 to 20 years old. The classes are taught by the teacher of the Stanislavsky system in Australia, professional Australian actress Inga Romantsova. - Благотворительная организация Imaducation запустила проект "Станиславский+" для подростков от 13 до 20 лет. Ведет занятия преподаватель системы Станиславского в Австралии, профессиональная актриса Инга Романцова.

Welcome to Season 3! Based on Stella Adler’s work with Stanislavsky, everything we do as actors comes out of the world of the play, or the given circumstances that the writer has given us. One way into the world is understand the playwright’s world view, what they want to say. This season, as the class begins working on George Bernard Shaw, Milton asks us to begin slowly brainstorming what the world of this great writer brings to mind. “Every idea he has is challenging popular thinking,” Milton says. “He writes with a strong, intelligent well-thought-out conviction, and so it tells me, as an actor, I have to be very, very clear.” Have a question for Milton? Email him at questionsformilton@gmail.com Brought to you by weaudition.com --- Support this podcast: https://anchor.fm/actingclass/support

The boys break down the latest Space Jam 2 trailer, diving into critical discussions about LeBron James's alleged Stanislavsky acting method, Michael Jordan cameo possibilities, and multiverse theory. After a brief chat on Ellen Degeneres, they dive into the Weekly Prompt coming to us from Reddit user Vengeful-Pickle: Your co-worker looks you up and down, “You look like shit Jerry, long night?”. You begin to sob, “I didn't get any sleep last night, again. I got summoned 3 times. These goth kids haven't left me alone since they found my blood totem last week. They just keep asking for the same thing...”. The ensuing discussion has us flushing out the true relationship between man and fiend, and perhaps discovering a bit of sympathy for our overworked demon friends. It's a truly special thing when our seemingly superficial childhood board games get a massive lore drop. That's none more apparent within today's fanfiction: Conservation of Momentum written by author roseclaw, a Candyland fanfiction with devastating implications. Tune in to listen to this bittersweet (but mostly sweet) apocalyptic tale!!

Michelle Danner is an American acting coach at the Los Angeles Acting School who specializes in the Meisner, Strasberg, Adler, Hagen, Chekhov and Stanislavsky techniques. She is also the founding and artistic director of the Edgemar Center for the Arts. Ian Jenkins is a doctor, living in San Diego, a specialist in hospital medicine and a professor at a major university. He's been with his partner, Alan, for seventeen years. They've been with their partner, Jeremy, for eight. Ian, Alan, and Jeremy are a same-sex throuple. They have two biological children – Piper, who is three, and Parker, who is 14 months. Join Robert Manni, author of The Guys' Guy's Guide To Love as we discuss life, love and the pursuit of happiness. Subscribe to Guy's Guy Radio on iTunes! Buy The Guys' Guy's Guide to Love now!

Michelle Danner is an American acting coach at the Los Angeles Acting School who specializes in the Meisner, Strasberg, Adler, Hagen, Chekhov and Stanislavsky techniques. She is also the founding and artistic director of the Edgemar Center for the Arts. Ian Jenkins is a doctor, living in San Diego, a specialist in hospital medicine and a professor at a major university. He’s been with his partner, Alan, for seventeen years. They’ve been with their partner, Jeremy, for eight. Ian, Alan, and Jeremy are a same-sex throuple. They have two biological children – Piper, who is three, and Parker, who is 14 months. Join Robert Manni, author of The Guys' Guy's Guide To Love as we discuss life, love and the pursuit of happiness. Subscribe to Guy's Guy Radio on iTunes! Buy The Guys' Guy's Guide to Love now!

Comparto un fragmento de "El trabajo del actor sobre si mismo" de Stanislavsky

Cotter Smith made an appearance to talk about Stanislavsky’s Active Analysis, how teaching this craft in a pandemic feels like and some tips on how to make your experience with an etude better. He also talked about his time in Mindhunter, what was like to act with Meryl Streep, being on Broadway in the play Next Fall, being cast in A soldier's play with Denzel Washington and Samuel Jackson and how his successful career in the arts have shaped him to be the wonderful teacher he is today.  Support this podcast: https://linktr.ee/Letstalkacting Instagram: @ltactingpodcast --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/diego-casasnovas/support

In this episode, hosts Catherine Nichols and Sandra Newman discuss "The Cherry Orchard" by Anton Chekhov, and particularly what it has to say about slavery, upper-class revolutionary types, and the twentieth-century tendency to turn all relationships into transactions. With added material from guest Isaac Butler, who tells us how Chekhov originally wrote the play for Stanislavsky, and the hijinks that ensued. Isaac Butler is a writer and theater director, co-author (with Dan Kose) of The World Only Spins Forward, and author of the upcoming The Method.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Our guest at the table tonight was Dr. Rosemary Malague, director of the Theatre Arts Program at the University of Pennsylvania, and the author of An Actress Prepares: Women and “the Method” (https://www.routledge.com/.../Malague/p/book/9780415681575), the first book to conduct a feminist examination of American, Stanislavsky-based, actor training traditions. We talked about women in theater, Stanislavsky, American acting training programs, auditioning, and #metoo​ in the theater. ~~~~~~~In addition to her scholarship, Rose is also an actor and director, and regularly stages student productions at Penn. She holds a doctorate in theatre from the Graduate Center of the City University of New York, and a master’s degree from Villanova University, where she was an acting scholar. She received actor training at Circle-in-the Square Theatre School, HB Studio, and is a member of Actors’ Equity Association. Courses regularly taught by Dr. Malague include: Provocative Performance; The Play: Structure, Style, Meaning; Theatre in Philadelphia; and all levels of acting. ~~~~~~~To explore past episodes of Into the Absurd, visit the IRC's YouTube channel: https://www.youtube.com/playlist​...And while you’re there, be sure to SUBSCRIBE, so you don't miss any future episodes.

Stanislavsky’s Method of Acting was born out of trial and error. He was not a natural talent. Had he been, we probably would not have been gifted with his discoveries of the craft. By analyzing his students’ successes and failures, and his own, he created techniques that were practical and coaxed the actor “toward the inner most source of their creativity.” Brought to you by weaudition.com --- Support this podcast: https://anchor.fm/actingclass/support

Jenn tries to rejoice in imperfectionism. She's also real excited about Dillon's drama schoolwork. Whereas Dillon is only excited about his new virtual escapism. Dillon plans a secret mission.

Stanislavsky never wanted a set vocabulary of acting. The words he used were an outgrowth of the creative work he was doing with actors. They pointed to ideas that brought actors to life, gave them something to hold onto. In other words, it was never *about* the words. Nowadays, we've become so focused on vocabulary, it's lost its meaning. So instead of asking yourself: what’s your action in the scene?” It might be more helpful to ask: “why are you going out there?” Or, “why am I telling you this?” Have an acting question for Milton? Email him at questionsformilton@gmail.com Brought to you by weaudition.com --- Support this podcast: https://anchor.fm/actingclass/support

Become the Supraconscious Actor of your life. The one for whom life springs from spiritual intuition.Learn everything you need to become an authentic actor and experience multiple breakthrough transformations in your life.PAD Method - a special workshop with acclaimed Greek Director, Maria Olonwith our On Air Players Zoe Anastassiou and Claude Isbell Introduction andd dad endorsement by NYC Theatre veteran and award-winning director, Jak Prince.BiosZoe Anastassiou -Zoe is a Greek-Aussie British theatre/TV/film/voiceover actress. She was last seen physically on stage in Thomas Walters’ (Julie Walters’ brother) new play Help a Handicapped God Trot Across the Universe at the 13th Street Repertory Theater in NY, and can next be seen physically (once quarantine has lifted) in various new works she is helping develop; British Emma Gibson’s Water in my Hands as part of Miranda Theatre Company’s Liz Smith Reading Series at the Cherry Lane Theatre in NYC, and Jamie Ramburg’s Castles in the Air with Midtown Direct Rep in NJ. In the interim, in Quarantine, Zoe shot a short role in a play adaptation of Emily Bohannon’s Virtue with Cowboy Bear Ninja productions which is soon to be released later this month, and is featured in Howard Pflanzer’s short play Space with Crossways Theatre that just premiered on YouTube. Zoe has been collaborating with various other projects for development and future engagement both for the stage and screen. Zoe can currently be heard as audio drama regular Maddie the 8 yr old CEO on How We Manage Stuff, which was selected and is now featured in the Hear Now Festival online, and, she can be seen daily in her longstanding 365 Blog video series. Learn more at www.zoeanastassiou.comClaude Isbell-Claude was a child actor doing commercials and theater. He has recently gotten the acting bug back, while studying acting and directing with Austin Pendleton. He is in pre-production of his autobiographical web series “CYRUS.Director / Author BioΜaria Olon Tsaroucha is a pioneer in researching philosophical systems that study human nature, personal development and consciousness. She studied theater at the American Academy of Dramatic Arts in New York (AADA) and sociology at Deree College, the American College of Greece. Sher specialized in Shakespearean repertoire and Stanislavsky method at the “Webber Douglas Academy of Dramatic Arts” in London. She has attended acting and film directing seminars with Mikhail Ilyenko, dean of the Kiev University of Cinema.She is a member of the NAMA group of the Epi Kolono theater. For nine years she systematically participated in a group of creative writing, literature and Theory of Philosophy at the “Center for Creative Writing and Theater for Conflict Resolution” by the author and activist Christiana Lambrinidis. At the age of thirteen she had published her first book “First steps, first thoughts”. She was awarded by Antonis Samarakis and Costas Tachtsis, as the “youngest Greek writer”. He is the author of the book “Clear empty head” (Eridanus Publications).She created the Magic Room Theater, a group of artists who have inspired and based on the musical-theatrical performances “this is a duck”, “a suspicion on stage”, “Lola΄s Cabaret”, “Reunion”, “Maria in Abundance “,” It’s a Wonder Full World “produced and directed by her.She has worked as an actor in the performances “Trainspotting”, “Bug”, “Sakura”, “The Lunch”, “Mala, the music of the wind”, “Adam and Halima” for the National Opera, “La nonna”, “The janitor of the night”, “Missing people, an interesting life”. Adapted and directed Elena Ferante’s “Days of Abandonment” entitled “The Poor of Naples”, directed “IRAQ, 9 Places of Desire” under the auspices of the Iraqi Embassy, ​​”A to n, when the soul meets the universe “and the performance” Phenomena “under the auspices of the Union of Greek Physicists, the” Dorian Gray Frames “and the presentation of the files” ACROPOLIS OF ATHENS FILE “for the arrival of the ancient Parthenon in Greece, at the Acropolis Museum. He collaborates with the Tango Acropolis Festival and the consulate of Ivory Coast in Greece for charitable purposes.She starred and participated in feature films for the cinema and has worked for Greek television.She participated in TEDXAUEB with the performance “Knowing thyself, the eternal process”. She has been working as an acting coach for twenty-two years. She teaches PAD and Method Acting to professional and amateur actors and performers.She is an assistant member and a collaborator in the Science and Art platform of the Union of Greek PhysicistsShe is a Founding member with Golden membership of the Actors Society of the American Academy of Dramatic Arts (AADA) and in the advisory board of Lifeboat thinktank as an Artist and Futurist.She is a mother.--------------------------------------------------------------------------------------------Maria Olon, the originator of Perceptual Acting and Directing, introduces the use of quantum physics, new trends of psychology, self-awareness, neurolinguistics programming, meditation, empathy, Ethos value system, and acting as tools for a substantial difference and evolution in human consciousness. During her years as an actor, director, and acting teacher, she developed her philosophical and practical approach to a new interpretation of what it means to be an actor in life and on stage. She wrote her first book at the age of thirteen and is acclaimed to be the youngest Greek author ever. She is a founding member of the Actor’s Society of the American Academy of Dramatic Arts, a member of the Hellenic Physicist Association and of the Advisory Futurist and Media and Arts Board of Lifeboat foundation. She participated in TEDXAUEB, presenting her work through the performance “Knowing Thyself: The Eternal Process.” She works on helping the vulnerable groups of women and children at war. Her research and study on the supraconscious actor began seventeen years ago and is in progress. Website Info: www.mariaolon.comMaria Olon TsarouchaActor, Director, Educator, AuthorFounder of PAD theory and methodwww.mariaolon.cominfo@mariaolon.compad@mariaolon.com

MASTERCLASS # 75: “LA CARRERA DE SENDEROS: La Filosofía y los Principios del Correr.COACHES Certificados por la RRCA: Ramón, Karina y JorgePara construir tu FILOSOFÍA de VIDA y de CORRER contesta estas tres preguntas famosas de Stanislavsky:(1) ¿Quién Soy Yo?(2) ¿Por Qué Estoy Aquí!Y(3) ¿Qué Es Lo Que Yo Quiero?!Hazlo ahora!--- Support this podcast: https://anchor.fm/cocrea/support

Mike Alfreds is a theatre director, adapter, translator and teacher. He talks about the role of the subconscious, the essence of good storytelling, what it means to be really ‘alive’ in a performance, what we can learn from film/ theatre ‘stars’, the danger of overconfidence, the importance of always being 100% ‘ready’ to work , the significance of curiosity and playfulness, the power of looking at a scene/ situation through someone else’s eyes, the difference between ‘making’ things happen and ‘allowing’ things to happen and so much more.Mike founded and was artistic director of ‘Shared Experience’, directed for the Royal National Theatre, Shakespeare’s Globe and the Royal Shakespeare Company. He worked on over 200 productions all over the world. Mike is also known for his special method of instructing actors, inspired by the principles of Konstantin Stanislavski and Rudolf Laban, with emphasis on physical activities, spontaneity and interaction with others. He has written two books ‘Different Every Night’ which describes his approach to theatre and his rehearsal process when working on plays and ‘Then What Happens?’ which describes his techniques when working on adaptations and storytelling. His system of working and his thoughts on the making of theatre have been said to be as crucial and illuminating as Stanislavsky’s and Peter Brook’s.Mark Rylance said about Mike: 'If I was allowed to train again to be an actor, but I was only allowed one teacher, it would have to be Mike Alfreds. To me he is a genius when it comes to acting and storytelling.' Instagram: @michaeldgolabTwitter: @michaeldgolabFacebook: @michaelgolabactor

We begin our second season with a reminder that acting is not a math equation. “The method,” said Stanislavsky, “is not a guide, it’s a culture.” This means that a creative process, like a culture, is meant to change and grow. There is no hard and fast, static rule book for acting; we require different things for different roles. But if we keep digging, exploring, trying new things, seeing what works and what doesn’t, we will find choices we love, choices that feed us and give us confidence. When we can trust that everything we’ve built is *in* us and let go, that is when the most unexpected and exciting work happens. --- Support this podcast: https://anchor.fm/actingclass/support

Can you believe we've been doing this for 3 years? We sure can't! But here we are with our first episode of our toddler phase and we are ready to celebrate. We are debuting our theme song and taking a look back at some of our favorite tracks of the past few years. But no worries, we are still taking a look at some newer acts and tracks too! Here's to another 3 years! Theme song written and performed by Stop The Presses Episode features music by The Hempsteadys, Sentimental Moods, The Kubricks, JER, Nice Things, Bumsy and the Moochers, Collywobbles, Just Say Nay, Stanislavsky, The Resignators and Animal Chin

Today's episode features Allison Grischow. Allison Grischow is a Chicago-based actor, improviser, musician, voiceover artist, and aerialist. They hold degrees in Theatre and Music from Valparaiso University as well as Second City’s Music Improv Conservatory. She has studied Contemporary British Theatre in the heart of London and the Stanislavsky tradition at the Moscow Art Theatre School. Recently you may have heard their voice on The Onion's podcast, "The Topical" or singing and running through fake snow in The Lilly Theater's production of The Magic Snowman. She is the founder of the small business The Joyful Actor and believes that actors and creatives deserve to be joyful in their work and create practices that are sustainable and fun.  Connect with Allison & the Joyful Actor Instagram:  @algrisch @thejoyfulactor    The Joyful Actor Website:  www.thejoyfulactor.com   Actors Access Resume:  https://resumes.actorsaccess.com/allisongrischow   Consensual Pod's "Ten Week Turnabout" on Spotify (You can also find it on Apple Podcasts!)  https://open.spotify.com/show/760xts4vRfALb2V1TsdybM   Things we chat about: How to better understand your thoughts Why our circumstances don’t have to control our feelings What to do instead of shaming ourselves for our negative thoughts The real reason she checks her phone each morning The “fucked up priorities” we tend to have as actors How people pleasing led to her getting sick What leads to our greatest growth - even though we don’t like it Why Allison started “The Joyful Actor” The trial and error process to start using in auditions    Resources referenced:  Unfuck Your Brain podcast - with Kara Loewentheil https://unfuckyourbrain.com/podcasts/ The Whole Artist podcast - with Courtney Rioux: https://courtneyrioux.com/news/podcast We See You W. A. T. (White American Theatre): https://www.weseeyouwat.com/ “Sleep Smarter” by Shawn Stevenson For a list of health, relationship, acting and overall self-improvement books & podcasts - check out this free resource here  Want to listen to this book for free? Click here for a free Audible trial membership!    Previous episodes Feel Your Feelings (Even if They Suck) - with Courtney Rioux  Speak Up! Different Convos & Emotional People - with Mel B Cook  Handling Rejection and Playing the Long Game - with Spenser Davis  Actor Safety During COVID19 - with Duane Sharp    Actor Resources   Join us!  Join our private Facebook community! www.facebook.com/groups/actorproblems  Join the actor self-care newsletter!  Head on over to www.tonyrossicoaching.com to sign up for the free actor self-care newsletter. I’ll share tips, tricks, and stories (that I don’t post anywhere else) every week, just for us actors.  Plus gain access to my free video series - “Why You Think You Suck (Even Though You Really Don’t)”   Interested in coaching?  Schedule a free call with me here!  Don’t see a slot that fits your schedule? Shoot me an email - tony.rossi@gmail.com   For Sponsorship Inquiries Shoot an email to tony.rossi@gmail.com and put “Actor Problems Sponsor” in the subject line. Wanna just support the podcast? You’re the best. Head to patreon.com/tonyrossi for donation options, starting at $1/month.    Are we connected? (We totally should be….) Instagram: @tony.rossi Twitter: @_tonyrossi TikTok: @tony.rossi Facebook: www.facebook.com/tonyrossicoaching    Remember - we can be messy and still get the things that we want #notperfect #stillenough

Michelle Danner is an American acting coach at the Los Angeles Acting School who specializes in the Meisner, Strasberg, Adler, Hagen, Chekhov and Stanislavsky techniques. She is also the founding and artistic director of the Edgemar Center for the Arts.

Join your Host Sarah Stephenson & Co Host Mike Stephenson as they talk horror, science fiction & fantasy movies, TV series & books past, present & future. In this episode we talk about the film Shadow of the Vampire (2000). F. W. Murnau (John Malkovich) is struggling to create his silent classic "Nosferatu" on location in Eastern Europe. The director is obsessed with making this the most authentic vampire movie ever. To that end, Murnau has employed a real vampire, Max Schreck (Willem Dafoe), explaining to the crew that he is the ultimate of that new breed, the "method actor" -- trained by Stanislavsky himself. Schreck will appear only in character and only at night. WARNING may contain a few spoilers’ alerts. So if you haven’t seen the film, yet please go watch the movie NOW… BOYS ‘N’ GHOULS FILM REVIEW PODCAST comes to you every Monday & Wednesday. Next episode 10th June, 2020. For your daily review go to: Podbean - https://boysnghoulsfilmreviewpodcast.podbean.com/ Anchor - https://anchor.fm/boysnghoulsfilmreview Spotify - https://open.spotify.com/show/3xrXE8Wj6ToYNgK3ahAu0a RadioPublic - https://radiopublic.com/boys-n-ghouls-film-review-podcast-G4gAyD Breaker - https://www.breaker.audio/boys-n-ghouls-film-review-podcast Visit our Merchandise Shop here: https://blackcatfilmprod.storenvy.com/ Thanks for watching. Don’t forget to LIKE, COMMENT & SUBSCRIBE! ****CONTACT DETAILS**** Website: https://www.blackcatfilmproductions.com/ Shop: https://blackcatfilmprod.storenvy.com/ Facebook: https://www.facebook.com/boysnghouls/ Facebook: https://www.facebook.com/bcfp14/?ref=bookmarks Twitter: https://twitter.com/blackcatfilmpr2 Business Inquiries: blackcatfilmproductions736@gmail.com

The incredible (and incredibly patient) Warner Loughlin joins Allen in Part I of a discussion (rather than a conventional interview) spanning the life of an actor. They start with Stanislavsky and end with Warner Loughlin method and discuss everything in between. If you're an actor confused by so many methods - this is for you!

If there’s one word all actors are familiar with it’s “objective.” But how often is the idea of “objective” a practical tool and how often is it an albatross around our necks? Stanislavsky wanted acting vocabulary to come out of common usage, and he wanted it to free us, not cripple us. Today we examine where the word came from, and whether the concept of “objective” was even Stanislavsky’s in the first place. --- Support this podcast: https://anchor.fm/actingclass/support

Vamos falar sobre a base da técnica do ator segundo Stanislavsky.

“The Movie Star” premiered on April 16, 2012. It was written by Julie Rottenberg and Elisa Zuritsky, and directed by Tricia Brock. Again, shout-out to an all-female team! The episode was viewed by 5.95 million viewers. Down again, man. This episode had three featured songs total, though one could argue that that spoken-word version of “Let Me Be Your Star” should count for half! Wow. The other two were one original song by Shaiman and Whitman called “Dig Deep,” and a cover of “Our Day Will Come” by Ruby & the Romantics. Everyone in the Bombshell rehearsal room is abuzz about movie star Rebecca Duvall, especially her new understudy Karen Cartwright. But as the company sits in her first sing through of “Let Me Be Your Star,” they realize she’s not a vocalist like Karen or Ivy Lynn. You see, “Everyone said she could sing,” but nobody on Bombshell bothered to check first hand. Eileen asks Derek, Tom and Julia to come up with “constructive solutions.” Derek advocates for bringing Ivy back into the show, just in case they need her.  All that Karen can wonder is what Ivy’s return means for her. But once Rebecca showcases her ineptitude, Ivy and Karen begin to conspire together. Ivy teases Karen, prodding her that “you’re counting the minutes until she implodes, and if you’re not you’re in the wrong business.” Rebecca Duvall confides in Derek that she wishes Bombshell could delve into the story of Marilyn with “a little less singing and dancing.” The writers try adding in a short scene for her at the Actors Studio, but she is still perplexed by the idea that a character would break into song. Eileen advocates for Rebecca, demanding a new “extra long scene” for her Marilyn.  Eileen imparts an old adage to assistant Ellis, “Keep your friends close, celebrities closer, and their assistants even closer still.” For Eileen, this includes Rebecca Duvall and her many, many, many ideas for script revisions. But in a late night work session with the creative team, Rebecca turns out to be surprisingly candid about her own limitations, asking for keys to be lowered and ballads to be cut. Based on the collegial session, there’s a new jazzy version of “Dig Deep” added that references Stanislavsky, childhood drama and Sigmund Freud. At a screening of Rebecca Duvall’s new movie, Ivy and Karen talk about their hot-headed boyfriends and catch each other sneaking out of the boring movie. They share a laugh followed by Ivy announcing “She’s annoying. She stole our part. We hate her. Let’s go drinking.” After a few, Ivy tells Karen “When Rebecca Duvall goes down, everything’s up for grabs. You’re going to have to pry that part of my cold dead hands.” In other news, Julia and her separated husband Frank come together to get their son to improve in calculus. Ellis gets caught trying to pull one over on Rebecca Duvall’s assistant. And Tom’s date with “chorus crush” Sam stops short of physical intimacy because “he’s old-fashioned and believes in God.” Learn more about your ad choices. Visit megaphone.fm/adchoices

Bethany Lind (REPRISAL, OZARK, DOOM PATROL) is a fantastic actress and new friend from my time working on Reprisal. She was in town for the premiere and dropped by the pod to share her actor origin story, what it's like building a career in the Atlanta market (18 min), and her experience playing Molly on Reprisal, from the self-tape all the way through season one (37 min). SUBSCRIBE TO INDUSTRY TOWN for free now on iTunes, Spotify, SoundCloud, PodBean, and GooglePlay. If you're enjoying the show please RATE & REVIEW! Presenting Sponsor JOHN ROSENFELD STUDIOS (www.JohnRosenfeld.com.) Sponsored by HORRIBLE HAIKUS (www.HorribleHaikusGame.com) Follow Industry Town: Instagram: @IndustryTownPodcast Twitter: @IndustryTownPod Facebook: @IndustryTownPodcast Email: IndustryTownPodcast@gmail.com For More On Bethany: Instagram: @Bethanyannelind IMDB: www.imdb.com/name/nm3869592/ That quote we were looking for turned out to be "Generality is the enemy of all art." - Stanislavsky and I'm kicking myself I didn't remember it. For More On Brian: Instagram: @TheBrianNorris Twitter: @TheBrianNorris IMDB: imdb.me/briannorris

Pastor Emmanuel Akognon answers questions submitted by members in the monthly Question and Answer Sunday. 1. If a person is a professional actor and he or she is a Christian and they have a hot and heavy love scene that they are required to do. Is that a sin because of the touching and so on?? Is this considered lust? Especially if they’re a Stanislavsky actor (method actor) (Shonte can explain this part of the question further if you aren’t aware of the nuances of this particular technique). 2. Person A is a Christian and proclaims that God answered their prayer for a new car. However, it is well known that person A never changed the oil or maintained the car, thus resulting in the engine exploding. How can we know that God answered their specific prayer as opposed to the fact that He is simply a merciful God, even to those who have no relationship with Him? 3. What does the Bible say about tattoos? Is getting a tattoo a sin? Leviticus 19:28 4. What can we as a church do to carry out an effective evangelistic outreach in our community?

Pastor Emmanuel Akognon answers questions submitted by members in the monthly Question and Answer Sunday. 1. If a person is a professional actor and he or she is a Christian and they have a hot and heavy love scene that they are required to do. Is that a sin because of the touching and so on?? Is this considered lust? Especially if they’re a Stanislavsky actor (method actor) (Shonte can explain this part of the question further if you aren’t aware of the nuances of this particular technique). 2. Person A is a Christian and proclaims that God answered their prayer for a new car. However, it is well known that person A never changed the oil or maintained the car, thus resulting in the engine exploding. How can we know that God answered their specific prayer as opposed to the fact that He is simply a merciful God, even to those who have no relationship with Him? 3. What does the Bible say about tattoos? Is getting a tattoo a sin? Leviticus 19:28 4. What can we as a church do to carry out an effective evangelistic outreach in our community?

ABOUT Michelle Danner is a world renowned acting coach, film and stage director, author, and teacher. Michelle has taught acting for the last 29 years and has worked with many A-List Actors privately and on set including: Chris Rock, Gerard Butler, Seth MacFarlane, Melanie Brown, Jamie Lynn Sigler, Penelope Cruz, Verne Troyer, Grant Bowler, Kate Del Castillo, Michael Pena, Isla Fisher, Common, Salma Hayek, Chris Martin, Brian McKnight, James Franco, Marcia Cross, Christian Slater, Catherine Bell, Zooey Deschanel, Gabrielle Union, Justin Chatwin, Jennifer Coolidge,Justine Wadell, Rob Estes, Rick Fox, Henry Cavill and Michelle Rodriguez and many others. Voted favorite acting coach by Backstage readers, teaching remains a passion. She was brought in for her expert coaching on the WB show The Starlet and was featured with Andy Richter on The Tonight Show with Conan O'Brien. Michelle trained extensively in Paris and New York with Stella Adler and Uta Hagen. She was the Managing Director of the Larry Moss Studio since it's inception in Los Angeles for 20 years.

With a background in acting, Lila Smith has learned not only how to say things with more flair, but also to help you use your words to "Say Things Better" as you will learn about in this episode. Ever feel like you're playing a character? Maybe your words don't feel like your own. Maybe your whole life feels like someone else wrote it. Well, we aren't characters, but we can use human character analysis tools (like YouMap®) to remember who we are or discover ourselves for the first time. She did. Then she realized- more than one tool works offstage. Story visualization motivates us. Improv teaches collaboration. Stanislavsky's System clarifies objectives. Meisner's work makes good listeners. Adler's “Actioning” names HOW we make others feel. Forakis' OTOA organizes our thoughts. Actually, everything that creates dramatic conflict can be reverse engineered to create connection! So Lila did that, creating the Say Things Better Method of Intentional Communication. Today, her highly interactive workshops have earned rave reviews from partners like Merck, Acuity Brands, the Dallas Mavericks, the University of Miami, Zoho, and Fannie Mae. Follow her online: Say Things Better – Coaching Through Intentional Communication (9) Lila Smith, AEA, APO | LinkedIn For more information on how you can Own Your Awkward with Andy Vargo, check out https://www.awkwardcareer.com/ #podcast #awkward #ownyourawkward #acceptance #authentiicity #motivation #inspiration #saythingsbetter #acting #improv #growth #stage #communication --- Support this podcast: https://podcasters.spotify.com/pod/show/own-your-awkward/support

You might know Bill Dawes for his standup-comedy persona - breakdancing, mudslinging, relentlessly physical - but what might surprise you is Bill's life of the mind: He's a classically-trained actor with Stanislavsky-honed chops and an aerospace engineering degree from Princeton. He's articulate, he's well-read, he's method as hell, and he's got a million great stories, some of which you'll hear on today's pod.

Coffee beans and human beans were meant to be the best of friends! While I had long flirted with the effects of caffeine in soft drinks, it wasn't until coffee that I truly solidified my relationship with the Bean. Note that I take my title from Stanislavsky's work, "My Life in Art," but what life is there without caffeine??

Jessica Schechter has an MFA in Directing from the Actors Studio Drama School and a Bachelors degree in Educational Theatre from NYU. She is a certified theatre teacher in New York State and has been acting, directing, and running drama programs for over 15 years. Jessica is a professional stand up comedian and performed for a time with the improv troupe "Improvodox", a part of the 24/6 theater company. She came in second place in the Jewish Week's Funniest Jewish Comedian Competition and recently received the Young Leadership Award at Congregation Ohab Zedek. Jessica is a resident director at Infinite Variety Productions (IVP) a theater company dedicated to telling the untold stories of women in history. Jessica became a director member of the Actor's Studio's Playwright-Director's Unit in 2016.  Trained through Stanislavsky and Meisner techniques, acting credits include: Soon By You (Noa), The Chas Veshalom Zone (Chloe), Uncle Vanya (Nanny),The Pavilion (Kari) Lou Gehrig Did Not Die of Cancer (Barbara), The Heidi Chronicles (Heidi), The Autumn Garden (Sophie), Through the Eyes of a Friend (Sarah), and Kindertransport (Eva), Jessica's directing credits include Putin and the Snowman (Strawberry Festival, Manhattan Repertory Theatre), Rhonda III (Actors Studio), Almost Finally (Thespis Festival), Insignificant (Infinite Variety Productions), Mend the Envelope (Midtown International Theater Festival), The Settler (24/6 Theater Co.) Fires in the Mirror (ASDS Repertory), Gruesome Playground Injuries (ASDS Repertory) Laundry and Bourbon (ASDS Repertory), The Third Wave (YUHSG Theater)  I Never Saw Another Butterfly (HANC Drama Program) , A… My Name is Alice (ATARA Theater Co.) a special needs integrated production of The Little Mermaid (Flatbush HS), and original devised pieces at the Tizmoret Arts Conservatory.      She is passionate about bringing professional quality arts programming to Jewish communities and helping people express themselves through improvisation and speaking. Jessica    works as an adjunct professor in two different universities and works as a private acting and speech coach for people of all ages throughout the city.  She is also the Director of Education/Business Development at a voice over company called Creative Media Design.  Jessica is currently producing and acting in the hit web series "Soon By You." www.jessicaschechter.com   Please vote for Jessica in the Jewish People's Choice Awards http://www.jewishpeopleschoice.com/Vote.html

“Culture is the only human practice that can actually dig into the root of a trauma and try to undo it in the first place. And this is why people are so afraid of culture, and in particular theatre. ‘Cause when there’s a human being in front of you having an experience, it’s very difficult to ignore them. It’s hard to ignore a play.” — Dan Fishback Dan Fishback and Motaz Malhees both made waves in the New York theater scene this fall with plays about Palestine. Motaz performed with the Freedom Theatre of Jenin in "The Siege," at the NYU Skirball Center. Meanwhile, Dan's play "Rubble Rubble" was abruptly and controversially cancelled by the American Jewish Historical Society. In this joint interview, Dan and Motaz talk about their work, and explain why culture is their weapon of choice against the injustices of the occupation. This episode of Unsettled is hosted by Max Freedman. Original music by Nat Rosenzweig. Recorded at The 'cast Sound Lab in Brooklyn, New York on November 6, 2017. Edited for length and clarity by Ilana Levinson.  Photo credit: Sammy Tunis Dan Fishback is a playwright, performer, musician, and director of the Helix Queer Performance Network. His musical “The Material World” was called one of the Top Ten Plays of 2012 by Time Out New York. His play “You Will Experience Silence” was called “sassier and more fun than 'Angels in America'” by the Village Voice. Also a performing songwriter, Fishback has released several albums and toured Europe and North America, both solo and with his band Cheese On Bread. Other theater works include “Waiting for Barbara” (New Museum, 2013), “thirtynothing” (Dixon Place, 2011) and “No Direction Homo” (P.S. 122, 2006). As director of the Helix Queer Performance Network, Fishback curates and organizes a range of festivals, workshops and public events, including the annual series, “La MaMa’s Squirts.” Fishback has received grants for his theater work from the Franklin Furnace Fund (2010) and the Six Points Fellowship for Emerging Jewish Artists (2007-2009). He has been a resident artist at Kelly Writers House at the University of Pennsylvania, the Hemispheric Institute at NYU, the Kimmel Harding Nelson Center, Yaddo, the MacDowell Colony, and BAX/Brooklyn Arts Exchange, where he has developed all of his theater work since 2010. Fishback is a proud member of the Jewish Voice for Peace Artist Council. He is currently developing two new musicals, “Rubble Rubble” and “Water Signs,” and will release a new album by Cheese On Bread in 2018. Motaz Malhees is a Palestinian actor born in 1992. He received his professional training in Stanislavsky, Brecht and Shakespeare at The Freedom Theatre in Jenin Refugee Camp (Palestine), and in Commedia dell’Arte at Theatre Hotel Courage in Amsterdam (Holland). Motaz has trained with internationally acclaimed directors such as Juliano Mer-Khamis and Nabil Al-Raee (The Freedom Theatre), Di Trevis (Royal Shakespeare Company), Thomas Ostermeier (Schaubühne Theatre), and Katrien van Beurden (Theatre Hotel Courage). His stage credits with The Freedom Theatre include: “Alice in Wonderland” (2011), “What Else – Sho Kman?” (2011), Pinter’s “The Caretaker” (2012), “Freaky Boy” (2012), “Courage, Ouda, Courage” (2013), “Suicide Note from Palestine” (2014), “Power/Poison” (2014), and most recently “The Siege” at the NYU Skirball Center. Motaz has also acted in films, including: “Think Out of the Box” (2014, dir. Mohammad Dasoqe), which screened in Palestine, Germany and Mexico; and “Past Tense Continuous” (2014, dir. Dima Hourani). As a versatile actor, Motaz has performed in multilingual plays as well as in scripted, devised, physical, epic and fantasy theatre. Motaz also produces and performs in short films about social issues in Palestine, which have received a wide following on social media platforms. Having grown up in Palestine, and experienced the economic and political hardships of life under occupation, Motaz has been actively interested in acting since he was nine years old. He lives through theatre, and believes in the potential of art to transform people’s ideas and lives. REFERENCES "Arna's Children" (dir. Juliano Mer-Khamis, 2004) "The Life and Death of Juliano Mer-Khamis" (Adam Shatz, London Review of Books, November 2013) "Center for Jewish History Chief Comes Under Fierce Attack By Right-Wingers" (Josh Nathan-Kazis, Forward, September 6, 2017) "Jewish Center Faces Backlash After Canceling Play Criticized as Anti-Israel" (Jennifer Schuessler, New York Times_, _October 11, 2017) Program note by Oskar Eustis for "The Siege" at NYU Skirball Center (October 2017) Indiegogo campaign for Dan Fishback's "Rubble Rubble" "Return to Palestine"(The Freedom Theatre, 2016) in Arabic without subtitles Theatre of the Oppressed NYC Housing Works  "All Your Sisters" (Cheese On Bread, 2017) danfishback.com @motazmalhees thefreedomtheatre.org TRANSCRIPT DAN: So many people warned me against making work like this. And yeah, I got canceled, but in the process, I have tremendously powerful friends now that I didn't make before. MOTAZ: Doesn't it make you stronger after they cancel it? DAN: Yeah, of course. Yeah. MOTAZ: Didn't it make you more like want to do it? DAN: Oh, yeah. MOTAZ: That's a good thing, then.   [MUSIC: Unsettled theme by Nat Rosenzweig]   MAX: Welcome to Unsettled. My name is Max Freedman, I’m one of the producers of Unsettled and your host for today’s episode. Now when I’m not working on this podcast, I’m a theater artist, and I know how hard it can be to make a life in the theater and get your work out there. However hard you think it is, imagine you’re trying to tell stories about the occupied West Bank. Enter Dan Fishback and Motaz Malhees. Dan and Motaz both made waves in the New York theater scene this fall with plays about Palestine. Motaz was in New York performing with the Freedom Theatre of Jenin in “The Siege,” a play about the Israeli siege of the Church of the Nativity in Bethlehem, during the Second Intifada. Dan, on the other hand, made waves because of a play that didn’t happen, rather than one that did. His play, “Rubble Rubble,” was supposed to go up at the American Jewish Historical Society, but they cancelled it. I’ll let him tell you why -- and what happened next. Dan and Motaz didn’t know each other before, but I had the privilege to get them in the same room to talk about their work and as you’ll hear, they had a lot in common. In preparation for this interview, I dug through years of old journals and found my entry from the day I first met Motaz, when I was in Jenin, three summers ago. Really big and underlined a few times, I had written two words: CULTURAL RESISTANCE. So that’s our theme for today. Quick note: besides the three of us, at one point you’ll hear the voice of my co-producer Ilana Levinson. I think that’s all you need to know, so, let’s get started!   MAX: Welcome to Unsettled. Uh, why don't you start by introducing yourselves? MOTAZ: Eh, first of all I am so happy to be here with you guys that's before I introduce myself. I am Motaz Malhees, so I am an actor from Palestine, I used to work with the Freedom Theatre since 2010. I do a lot of politics theatre but also the same time I do also for community, I do like for kids show. But I feel like, whatever needs, I give, like...it’s not important the type of theatre I do. But nowadays I'm freelance, and I work like with all theatres in Palestine, my country, because I don't want to be just involved with one place -- even that's I always say that the Freedom Theatre, that's my place and my home. DAN: I’m Dan Fishback, I’m a...I make performance and music and theatre in New York, I’ve been here since 2003 -- I don't know, what do you want to know? MAX: Where’d you grow up? DAN: Oh my gosh! I grew up in a pretty normal American Reform Jewish family, outside Washington, DC in Maryland. In a family that...was essentially a liberal Zionist family, although I don't think they would have necessary articulated themselves like that, they just imagine themselves being normal. And I heard growing up, “If only the Palestinians were nonviolent, then they would get what they want. Because they're asking for something reasonable, but it's because they're violent that things are problem....that that's the reason why there's a problem.” And like, the older people around me as I was growing up were always saying, “If only there was a Palestinian Gandhi” -- that was like the refrain, over and over again. And now I find myself 36 years old, going back to my communities and being like, “There’s this huge non-violent Palestinian movement! And it’s international and we can be part of it, it’s boycott, and blah blah blah.” And everyone’s like, “Oh no, no no, this makes us uncomfortable too.” I'm like, “This is what you were begging for my whole childhood! And now it’s here! Why aren’t you excited? Why aren't you as excited as I am?” That’s where I’m from. MOTAZ: That’s cool. DAN: And it’s an honor to be here with Motaz, whose performance in “The Siege” was absolutely amazing. MOTAZ: We not sure, but there is like people who really want to bring it back to the U.S. again, because it was a really successful show like for the Skirball Theatre, even like they almost sold out. MAX: Let me back you up a second, because, I want you to imagine that I have never heard of “The Siege,” have never heard of the Freedom Theatre. Can you tell me -- tell me what it was, tell me what it is. MOTAZ: “The Siege” it's a story about the invasion happened in 2002 in Palestine. There was like eh...invasion for the whole West Bank: in Jenin, in Nablus, all the cities. Like, one of them was Bethlehem, and in Bethlehem there was like a group of fighters, freedom fighters, who fight and defend back from their homeland. They have like many guns defending themselves, and they have in the other side -- the Israeli side -- there is tanks, Apache, Jeeps, all kind of guns you can imagine your life, heavy guns. And they were like around 45 fighters, 250, 245 civilian -- priests, nuns, children, women, and men, from both different religions -- who’s like stuck inside the Nativity Church for 39 days. With the like first five days they have food, after that they have no food. And they surrounded with around 60,000 soldiers from the Israeli army. They want, like, to finish it. So they, they have pressure, they don't wanna -- even the fighters, says khalas, it’s enough. Their people are suffering, their families are suffering outside because of that. So, they sent them like a paper, they have to write their names, the number of their IDs they have, and their signature. So, the fighters sign on it, and they know that's thirteen going to Europe and twenty-five are going to Gaza. They don't know even where they going. So, they sent them to exile the same day. DAN: When my friends and I were leaving the theatre, all we were talking about is, we were so curious about what their lives would be like after fifteen years of exile and we couldn’t wrap our minds around it. MOTAZ: I know one of them is personally, and he told me a lot about it. And it’s really important to bring this piece because of one reason: they didn't choose. Even they signed the paper that say they have to go to exile, but like they was under pressure, and they thought it's temporary and that they would return. And eh, I know how much they are really broken from inside. They never show this to people.But from inside, if you know them personally, they are really broken, and they just...all they want, just to see like at least their families. Some of them, they can’t. Their family, like they can't get the visa to go to visit them -- like, for example, the two guys, Rami Kamel, and Jihadi Jaara who living in Dublin, they haven't seen their families at all. One of them, like Jihadi he have a son that's his wife give birth like after one week he was sent to exile. He didn't even touch his son, he's fifteen years old, like...at least, like, okay, you don't want to send him back to Palestine. Let his family visit him! Like, this is the minimum of humanity. And eh...a really important point we have like always to say: those people was in their homeland, they was in their own city, and they fight back. They didn't went to...yeah, to Tel Aviv to fight, or to somewhere inside Israel, to fight the people over there. They was fighting the…defending themselves from the Israeli army. MAX: How did you get started with the Freedom Theatre? MOTAZ: Woo hoo! Since I was like, eh…fourteen I heard about it, or thirteen -- and I was dreaming about to be in there cause I’m, since like eight, nine, I start doing acting. It's like something I really love from inside, like I really really want to be an actor. Not because like I wanted a name. Because I can hold the stories, I can share stories for all over the world, I enjoy it, it's something beautiful and strong in the same time. So when I was sixteen, I heard about the hip-hop workshop, dance hip-hop workshop in the Freedom Theatre. So I went there and I apply for it, and I get involved with the workshop, and the last few days Juliano just came and he said, “We open a new class for theatre.”   MAX: Juliano, who Motaz just mentioned, is Juliano Mer Khamis, who started what is today, the Freedom Theatre. Real quick, I want to tell you the remarkable story of the Freedom Theatre of Jenin. During the First Intifada, Juliano’s mother, a Jewish Israeli Communist named Arna Mer, came to Jenin, where she helped to establish housing and educational programs for children in the refugee camp there -- and eventually a children’s theatre called The Stone. Arna died of cancer in 1995, and during the Second Intifada, the Stone Theatre was destroyed. Arna’s son Juliano returned to Jenin for the first time since his mother’s death in the immediate aftermath of the Battle of Jenin, and made an incredible film called "Arna’s Children" -- Motaz will tell you more about this in a bit, but it’s on YouTube and I highly recommend it. It was after finishing this film that Juliano returned again to Jenin to found the Freedom Theatre. In 2011, Juliano was assassinated, but the Freedom Theatre has persisted. Alright -- back to Motaz.   MOTAZ: So I get involved and I put myself in that place since 2010. And it’s been like around...now, now you could say like eight years almost. It is...hard and eh, good in the same time. It is, ‘cause you face emotion, a lot of different emotion. But I love it. It's like, it’s become my home now. I’m always there. Even if I have nothing, I go pass by drinking coffee there like, chill, see what's going on, if they need help or something, because I'm part of the family. MAX: Well we met because I went to visit the Freedom Theatre. And you were just hanging around and we sat there and talked for an hour. MOTAZ: Yeah yeah. MAX: Alright, so, Dan. DAN: Yeah. MAX: Tell me about your work and particularly tell me about “Rubble Rubble” and the genesis of that project. MOTAZ: I wanna hear about it. DAN: Well I've been working for the past decade on a trilogy of plays that sort of explore the inner life of the Jewish left in the United States over the past century. And this last play, “Rubble Rubble,” which I've been developing for the past few years, starts in the West Bank in an Israeli settlement. And you find this family that I've been writing plays about -- which is a very far leftist socialist radical family -- you see that that family has split off, and there's like a right-wing side of the family that has become settlers. And the left-wing anti-Zionist member of their family travels to visit them, after they haven’t spoken in twenty years. MOTAZ: Whoa. DAN: And the family confronts each other over his huge chasm, where one person is like a Palestinian solidarity BDS supporter and the rest of the family are like... MOTAZ: Pro-Israel. DAN: They're like settlers! Like living on stolen land, even though, but they’re middle aged American Jews who in the sixties were like radical New Left, you know, people. I’m fascinated by how many American-Israeli Jews were like super far on the left in the United States and then became these horrible oppressors in Israel. It blows my mind that it's possible to make that transition within the course of one life. And so, and that's where the play starts, and um…and I've been developing it for a few years, I went to Israel-Palestine to research for the play, I spent two weeks with interfaith peace builders traveling all through the West Bank and meeting with different non violent Palestinian and Israeli activists. I spent a week interviewing settlers, which was extremely disturbing. Um, and then I’ve been developing this play, and it was gonna have its first public reading at the American Jewish Historical Society in Manhattan and, um, a couple weeks ago -- I guess now around a month ago -- we went to their offices for a meeting and everything was very positive, they were very excited to have us, the staff was very supportive of the work. And we heard that there was a right-wing smear campaign against the organization's new CEO. And we were told, “This is all happening but don't let it bother you. We might have to cancel that other thing, but we're not going to cancel your play, because we, we're really excited about it.” And literally the conversation we had was about raising the budget for our play. Eight hours later, I got an email saying that the play had been canceled. MOTAZ: What? Was there any explanation about it? DAN: Well, I knew that it was... The institution itself never sent me like a formal letter or anything, but I knew that it was because of this right-wing Zionist pressure campaign that they were being pressured to fire their new CEO, and in order to try to get rid of that critique, they were just going to get rid of us. And the staff of the American Jewish Historical Society was very supportive of me, and I don't see them as my enemies at all. It was the board of directors, or at least a small group from the board, met in the middle of the night and made this decision. And this is what happens all the time in Jewish organizations: the people actually doing work are willing to make brave choices, and the people who are funding that work are not willing to let anyone make those choices. MOTAZ: Yeah yeah yeah, this happened with the same thing almost with us. DAN: Yeah, at the Public, right? MOTAZ: Yeah yeah yeah, it's almost the same, I like, I don't know who’s stand with us or who is against us, but we had this question for Oskar, which is the Artistic Director of the Public Theater, and his answer was really diplomatic answer and I respect -- no Oskar, he’s really great guy and he was one of the supporters to bring this play over here, and the most important thing, he says, that's to bring “The Siege” for the New Yorker people and we did it. It’s not about the place. DAN: Well, that was interesting about Oskar Eustis and “The Siege,” is that it was supposed to be at the Public Theater, the board canceled that choice. But Oskar, who is the Artistic Director of the Public Theater, he had notes in the program for “The Siege” production at the Skirball Center. And I was like, this is so unusual that you open the program and you see notes from the director of the theatre that canceled the play! MOTAZ: Yeah yeah. But, I want to hear more about Dan play, man. DAN: Sure, yeah. MOTAZ: I would like to know what is the story? DAN: Well, I can tell you about the story of what happens in the play, but what I also want to say is that, after we were canceled, the New York theatre world became incredibly supportive of us. And people really came out of nowhere to offer support and offer help. We raised our budget that had been canceled from American Jewish Historical Society within three days. MOTAZ: Whoa. DAN: Yeah. And we were offered resources that we couldn't have ever imagined. And to me, that was a huge sign that the people who are trying to censor dissident voices around Israel-Palestine are going to fail in humiliation. Because our work is stronger than ever after having been canceled, because people are so angry about it. People who are, who don't really know very much about it, are angry about it. And there are left-wing Zionists in my life who don't agree with me, but who are so angry that the play was canceled -- and it’s put them in a situation where they are more open to my ideas, and more open to considering the ideas of the play. So, I mean -- and we’re going to do the reading of the play, it's going happen next year, the details aren't confirmed, but it's going to be bigger and more interesting and more spectacular than it would have been if it hadn’t been canceled in the first place. Which is interesting. The play itself -- it’s funny because the people who canceled it never read it. And it's weird, like if they read it I think they'd be like, “Oh, this is weird.” It's a weird play. The first act is like a very traditional living room drama in a family. So, there's the aunt and uncle, who are middle-aged formerly left-wing radical American Jews who live in a settlement. There's their radical nephew, who shares my politics but is not a sympathetic person. He’s kind of...nasty and annoying and neurotic. And he’s there with his partner who’s Colombian and has no context for any of this. So I really wanted there to be a character who doesn't really have any stake in the game, doesn't have any history with Israel-Palestine, just comes from another part of the world entirely, but who has...a personal history of violence. Because he grew up in a part of Colombia that experienced a lot of violence. Whereas, I think a lot of white American Jews, violence, revolution, all these ideas are abstract concepts, and we don't experience them in our real lives. So he's coming at -- that character, who in a way is the central character of the play -- is coming at things from a totally different context. And I don't want to give anything away, but by the end of the first act, things go horribly wrong, and the first act ends with an enormous disaster. And the second act begins, and it's a musical, and it takes place in Moscow in 1905. And it's the same family, but a century before, and the matriarch of the family is building bombs for the socialist revolution of 1905. MOTAZ: So it’s almost flashback? DAN: It’s like a flash -- it's like an ancestral flashback. MOTAZ: That’s interesting. DAN: So you see the ancestor of the same family, and she's like a socialist revolutionary. She's building a bomb, she wants to like blow up the Tsar. And...and the ideas of the first act are sort of filtered through the music of the second act, where you see her with her socialist comrades. And what I want to ask is: How did this family go from here to there? How did it get from one place to the other? And, and the other question that I'm really interested in asking is like: Once you learn that there's an enormous injustice around you, how far are you willing to go to stop it from happening? How much violence are you willing to accept in order to stop something? Which is a huge question, I think, for anti-Zionist Jews when it comes to Palestine, like how...what are we supposed to do, knowing this horrible thing is going on? It's a huge question within Palestinian society, obviously, like what are you willing to do to stop this from happening? And it’s been a huge question throughout Jewish political history, which is full of violent resistance to injustice, and we act like were so horrified by violence, but Jewish history is full of it. So, those are the questions that I'm dealing with, and I don't think that the play offers any straightforward answers. And that's the interesting thing about the play being canceled or censored, is that the play itself is about what happens when two sides of a Jewish family can't communicate, and shun each other. And that’s what’s happened with the play, that we were being shunned just like family members are being shunned. And when I was in Israel, researching the play, and I would tell people what the play was about -- you know, it's about a Jewish family that's separated over Israel, and the Israeli side doesn't talk to the American side -- and every single person I talked to was like, “Oh, that's just like my family. That's my family, that happened to us.” And I was like, oh, right. This is bad for everybody. This destroys families, this injustice is destroying everybody involved in it. MOTAZ: Yeah, I mean like, even if it’s happened, like something like, my grandparents, whatever it takes place, I will not do the same thing in a different place. DAN: Right? This is the big Jewish catastrophe of the twentieth century, that you take one of two decisions, right? You either, you take all the trauma and you say, “This will never happen to us again, and we will do anything to protect us.” Or you say, “This will never happen to anyone again.” MOTAZ: What, like, Jewish used to live in Yemen, Morocco, Egypt, Palestine, many Arab countries, there was normal to see like this Muslim, Christian and a Jewish neighbor and eh, like an atheist beside him, and all of them are living in the Arab world like normally, like -- let's be honest, even though the Arab history is not clear, like there is many bad things from the Arab history also like... But eh, we used to live like together, so the thing is not religion. I don’t believe it’s religion, it’s mentality. It’s... DAN: I was talking, I was having an argument in a restaurant a couple years ago with a Zionist Jew, and we were fighting really passionately. And someone, a stranger came up to our table and said, “Guys, stop fighting about this. It's an ancient struggle that's been going on thousands of years.” And we both looked at him, both of us agreed, we were like, “No, it isn't! This is new, this is in the past like less than 200 years that this has happened, come on.” We were like, “Go sit down. Finish your lunch, hon. Get out of our faces.” There's so many lies about it. But this is...I feel like this is the work, this is the cultural work of American Jewishness right now. We've been brought up with such a distorted understanding of the world. And it's gonna take so much cultural work to undo it all. MOTAZ: Yeah, and it's gonna make a lot of enemies at the same time. DAN: Oh yeah. But I think my situation proves that it's also gonna get…it's not gonna be completely a disaster. You know, everyone -- so many people warned me against making work like this. And yeah, I got canceled, but in the process, I have tremendously powerful friends now that I didn't make before. MOTAZ: Doesn't it make you stronger after they cancel it? DAN: Yeah, of course. Yeah. MOTAZ: Didn't it make you more like want to do it? DAN: Oh, yeah. MOTAZ: That's a good thing, then. Okay, what’s the next question? MAX: So, for both of you, why is culture your weapon of choice? MOTAZ: Woo hoo! Because eh… Dan, you go ahead. DAN: ‘Cause its more powerful! Like…violence only ever creates more violence. I think this, like, even when it's necessary, it ends up being true. Culture is the only human practice that can actually dig into the root of a trauma and try to undo it in the first place. Um, and this is why people are so afraid of culture, and in particular theatre. ‘Cause when there's a human being in front of you having an experience, it’s very difficult to ignore them. It's hard to ignore a play. And, and so many…especially, so many American Zionist Jews are under -- on an emotional level, understand that their perspective is impossible. ‘Cause if you ask most American Jews, “Do you believe that it is right for a country to privilege one ethno-religious group over others?” Most of them will say, “No, that’s wrong. That is a wrong thing.” And then you say, “Well, what about Israel?” and they'll go, “Uhhhhhh…” But the fundamental truth, the deeper truth is that none of us actually support this. It's, the the support for Israel is the more superficial belief. The deeper belief is that this is wrong. Good plays, good art, good visual art, good music, good anything about this will help strip away the sort of superficial attachment to the, to the story of Israel, and help people get to the deeper belief that supremacy is wrong. No matter who is supreme in any given situation, it will always be wrong. ILANA: Sorry, I just wanna um, in the conversation about Zionism, I’m wondering... DAN: Do you want me to define that? ILANA: Yeah, I’m wondering specifically if you think any form of Zionism involves supremacy and that kind of thing. DAN: You know, I identify as an anti-Zionist Jew, and a lot of people, a lot of people will say, “Oh, don't say that, because it’s icky, it makes us uncomfortable to say you're anti-Zionist. Because, 'cause what does that really mean.” And for me, if it was the early 1900s, maybe I would have identified as like a Cultural Zionist. But to me, the way the word Zionism functions in the world, it’s support for a Jewish state of Israel. And to me, that means that Zionism inherently requires one to believe that Jews should reign supreme in this land, and I think that that's an untenable option. MAX: I…I sort of wanna respond. DAN: You wanna get into it, Max? MAX: No, I don't -- no, I don’t wanna argue with you…that's not… I will confess that I am skeptical of people who call themselves anti-Zionists who are not Jewish and not Palestinian. I... DAN:  Yeah yeah yeah, me too. I think that part of the, part of what it means to liberate Jews in the world, is to liberate us from our trauma, and to liberate us from that pain that…that distracts us from the reality of the world. And that requires our friends to help us get through that trauma, and to help us liberate ourselves from that trauma, and that requires non-Jewish people who oppose Zionism to make sure that we are emotionally capable of, um, of joining with them and being in community with them. And to me that's always like a challenge to my non-Jewish friends and comrades to be like, if we’re gonna do this together you need to understand that we’re…we just barely made it alive into this century, and a lot of us have like legitimate fears for our lives. I mean, we’re living in the United States where there's like a Nazi problem, right? Like our fear of violence is real and legitimate and um, when people say there's like no anti-semitism on the left in the United States, to me that's like so foolish. Like obviously, there's some anti-semitism in any part of the world, in any community. MOTAZ: Of course, of course…that's true. DAN: And when we pretend it doesn't exist, then we’re...I think we make so many other Jews feel unsafe joining us in this movement, because we're saying something that's obviously untrue and they don't trust us ‘cause it sounds like we’re lying to them. From my perspective, we need to say it: yeah, there's totally some anti-semitism on the left. And we need to deal with it, and our non-Jewish comrades need to deal with it, so that we can see that this is a safe place for us to be. MOTAZ: Nobody called you before, like you are anti-semitic after all the things you did? DAN: Oh yeah. MOTAZ: And you are Jewish. DAN: Oh yeah. Motaz, I need to tell you, I've gotten a lot of hate mail in my life and it's never as aggressive as other Jews. They’re the ones that tell me I should die. What they always say is, “You should go to Palestine, where they’d kill you.” They say this all the time, and I’m like, “I’ve been to Palestine, dude!” MOTAZ: So if some of the guys gonna hear this interview, Dan, you more than welcome in my house in Jenin. Nobody gonna kill you, you gonna love it. So come back to the first question? MAX: Yes, yes, finally... MOTAZ: Why cultural... Because I'm fed up. I have seen like many people got killed in this entire world since I was born. And see blood everywhere, why it’s need to be violent? Why that question? Why don't we turn the opposite question: why we have to be violent? Because it's like, we fed up, we are like, we are human. There is many people that think, like, “Oh, they was born like this.” No, they was not born like this. There is something happen to them. Like, if you watch there is a really important and good movie, it’s called “Arna’s Children,” Little kids, he talking about this story a lot, little kids. And they was dreaming about to be a Romeo of Palestine, them want to be Juliet, one of them he want to be Al Pacino. They wanna be actors. Suddenly, in a moment in 2002, you see those people got killed. And they became a freedom fighter before. Why? One of them his mother got killed by a sniper. One of them, after they bomb a school, he went to the school and he grabbed the body of a girl and she was almost alive, while he was running through the hospital, she died. So, his...of course he was gonna have a flip in his mind, and he gonna hold the gun and fight. So those people, they didn't like came from nothing. There is a reason always to do this. Even like I'm not into like guns or things, that's why I choose also art because I believe art is more stronger than a gun. And I don’t want to see any person on earth suffer. Like death is coming anyway, like you gonna die, but why we have to kill each other? Destroying, destroying. Like, I can make art which is strong, I can bring the messages, not just from my place, from all over the world and develop it to the stage. And eh… I think it's, let's make it, let's be cultural more. Let's let the art talk. And eh, we not gonna fake history, we not gonna fake stories, we gonna bring the story as it is. DAN: And this is why they’re so afraid of theatre. MOTAZ: Yeah! DAN: Because theatre shows the reasons why a person does something, and they don't wanna look at the reasons. MOTAZ: Man, I start to believe in this thing in 2012. I was going to the theatre in a taxi and there was checkpoint, and they stop me. ‘Cause I have no ID. I told him, like “I’m late for my theatre.” And he said, “Oh, you’re going to the Freedom Theatre.” He said like, “Come on man, they killed Juliano, they could kill you too.” And I said like “Why?” He said like, “Art will not change anything man. Why you need it?” And I said, “It's fine, for you it's nothing, but for me...” And he told me, “If you don't have your ID next time, you go to prison. And I promise you.” So since that time I just realize how much art is strong, and how much they afraid from art.   MAX: Here’s Motaz in a scene from “Return to Palestine,” devised by graduates of the Freedom Theatre acting school. [Excerpt from "Return to Palestine," in Arabic]   MAX: So, the work I do here in New York City is mostly with an organization called Theatre of the Oppressed NYC. MOTAZ: Yeah, I know. MAX: Where I work with a lot of different groups of people. Right now I’m working at Housing Works, which is an organization that um…I think this is the blurb from their website, “works to end the twin crises of HIV/AIDS and homelessness.” MOTAZ: Whoa. DAN: Easy. MAX: Yeah, right? I’m working with a group of folks from Housing Works on a play that they created about their experiences trying to keep and get affordable housing, with housing vouchers that they have because of their status. And… that’s just one example, I’ve worked on a lot of plays, and the way that sometimes I think about what those plays are meant to do, is is kind of in two areas: there’s the sort of, I mean, the way that I talk about it with my family, which is very much in the kind of like raising awareness camp, in the sense that people come to see these plays, they don’t know anything about tenant harassment in New York City and they learn about it. And then, really what it was designed to do by the folks who came up with this stuff in Brazil in the seventies, which is to build capacity in that community. Um, these theater tools are tools for people to work together to make change. I’m wondering if that resonates with you at all, and sort of -- what do you see your work in theater doing? DAN: Obviously I like plays that do all of these things at the same time. MOTAZ: Yeah. DAN: But, as a playwright, if you go into a project with too much of a vision of like what kind of responses you want from your audience -- an audience knows when you’re trying to manipulate them, and at the end of the day, an audience knows when something is authentic. So, being a playwright is about balancing your vision for what you want to happen in the room, and your relationship to your own imagination and your own impulses. MOTAZ: And the thing is like, if you don’t believe it, the actors will never believe it, then the audience will never believe it. DAN: Yeah, totally, and a lot of political theatre gets a bad rap, because I think a lot of political theatre is only thinking about, how can we make an impact with this audience? And it feels false. MOTAZ: I’m interested to know about, Dan, like -- normally, when you write, you give solution for the people? Or you give them a question to find the solution? DAN: I don’t give solutions, no. MOTAZ: You give a question. DAN: I give the questions. Yeah yeah yeah yeah. MOTAZ: Good, yeah. DAN: If I feel like I know concretely an answer to something, then I don’t need to write the play. I will just write an essay.   [MUSIC: Cheese on Bread, “All Your Sisters”]   MAX: Motaz had to leave, and I got to talk to Dan for a little while longer about the difference between boycott and censorship, and why he wants to start identifying as a “liberationist Jew.” If you’re not already subscribed, SUBSCRIBE to Unsettled on your podcatcher of choice -- because, in a couple weeks, you’ll get a bonus episode with the rest of our conversation. In the meantime, you can find Dan’s work at his website, danfishback.com, and follow Motaz on Instagram @motazmalhees, that’s M-O-T-A-Z-M-A-L-H-E-E-S. The song you’ve been hearing is "All Your Sisters" by Dan Fishback’s band, Cheese On Bread, from their forthcoming album "The One Who Wanted More,” coming out next year. You can find the song, a full transcript of the episode and other resources at our website, unsettledpod.com. Unsettled is produced by Emily Bell, Asaf Calderon, Yoshi Fields, Ilana Levinson, and me. This episode was edited by Ilana Levinson. Original music by Nat Rosenzweig. We recorded this episode in a studio for the first time -- shout out to Cast Sound Lab in Brooklyn, New York. Go to our website, unsettledpod.com, for more show information. We want to bring you more content in more different forms, and to make that happen, we need your support! So you can become a monthly sustainer at Patreon.com/unsettled. You can like Unsettled on Facebook, follow us on Twitter and Instagram, and subscribe on Apple Podcasts, Google Play, Stitcher, Overcast, or wherever you get your podcasts, to make sure you never miss an episode of Unsettled.

“Culture is the only human practice that can actually dig into the root of a trauma and try to undo it in the first place. And this is why people are so afraid of culture, and in particular theatre. ‘Cause when there’s a human being in front of you having an experience, it’s very difficult to ignore them. It’s hard to ignore a play.” — Dan Fishback Dan Fishback and Motaz Malhees both made waves in the New York theater scene this fall with plays about Palestine. Motaz performed with the Freedom Theatre of Jenin in "The Siege," at the NYU Skirball Center. Meanwhile, Dan's play "Rubble Rubble" was abruptly and controversially cancelled by the American Jewish Historical Society. In this joint interview, Dan and Motaz talk about their work, and explain why culture is their weapon of choice against the injustices of the occupation. This episode of Unsettled is hosted by Max Freedman. Original music by Nat Rosenzweig. Recorded at The 'cast Sound Lab in Brooklyn, New York on November 6, 2017. Edited for length and clarity by Ilana Levinson.  Photo credit: Sammy Tunis Dan Fishback is a playwright, performer, musician, and director of the Helix Queer Performance Network. His musical “The Material World” was called one of the Top Ten Plays of 2012 by Time Out New York. His play “You Will Experience Silence” was called “sassier and more fun than 'Angels in America'” by the Village Voice. Also a performing songwriter, Fishback has released several albums and toured Europe and North America, both solo and with his band Cheese On Bread. Other theater works include “Waiting for Barbara” (New Museum, 2013), “thirtynothing” (Dixon Place, 2011) and “No Direction Homo” (P.S. 122, 2006). As director of the Helix Queer Performance Network, Fishback curates and organizes a range of festivals, workshops and public events, including the annual series, “La MaMa’s Squirts.” Fishback has received grants for his theater work from the Franklin Furnace Fund (2010) and the Six Points Fellowship for Emerging Jewish Artists (2007-2009). He has been a resident artist at Kelly Writers House at the University of Pennsylvania, the Hemispheric Institute at NYU, the Kimmel Harding Nelson Center, Yaddo, the MacDowell Colony, and BAX/Brooklyn Arts Exchange, where he has developed all of his theater work since 2010. Fishback is a proud member of the Jewish Voice for Peace Artist Council. He is currently developing two new musicals, “Rubble Rubble” and “Water Signs,” and will release a new album by Cheese On Bread in 2018. Motaz Malhees is a Palestinian actor born in 1992. He received his professional training in Stanislavsky, Brecht and Shakespeare at The Freedom Theatre in Jenin Refugee Camp (Palestine), and in Commedia dell’Arte at Theatre Hotel Courage in Amsterdam (Holland). Motaz has trained with internationally acclaimed directors such as Juliano Mer-Khamis and Nabil Al-Raee (The Freedom Theatre), Di Trevis (Royal Shakespeare Company), Thomas Ostermeier (Schaubühne Theatre), and Katrien van Beurden (Theatre Hotel Courage). His stage credits with The Freedom Theatre include: “Alice in Wonderland” (2011), “What Else – Sho Kman?” (2011), Pinter’s “The Caretaker” (2012), “Freaky Boy” (2012), “Courage, Ouda, Courage” (2013), “Suicide Note from Palestine” (2014), “Power/Poison” (2014), and most recently “The Siege” at the NYU Skirball Center. Motaz has also acted in films, including: “Think Out of the Box” (2014, dir. Mohammad Dasoqe), which screened in Palestine, Germany and Mexico; and “Past Tense Continuous” (2014, dir. Dima Hourani). As a versatile actor, Motaz has performed in multilingual plays as well as in scripted, devised, physical, epic and fantasy theatre. Motaz also produces and performs in short films about social issues in Palestine, which have received a wide following on social media platforms. Having grown up in Palestine, and experienced the economic and political hardships of life under occupation, Motaz has been actively interested in acting since he was nine years old. He lives through theatre, and believes in the potential of art to transform people’s ideas and lives. REFERENCES "Arna's Children" (dir. Juliano Mer-Khamis, 2004) "The Life and Death of Juliano Mer-Khamis" (Adam Shatz, London Review of Books, November 2013) "Center for Jewish History Chief Comes Under Fierce Attack By Right-Wingers" (Josh Nathan-Kazis, Forward, September 6, 2017) "Jewish Center Faces Backlash After Canceling Play Criticized as Anti-Israel" (Jennifer Schuessler, New York Times_, _October 11, 2017) Program note by Oskar Eustis for "The Siege" at NYU Skirball Center (October 2017) Indiegogo campaign for Dan Fishback's "Rubble Rubble" "Return to Palestine"(The Freedom Theatre, 2016) in Arabic without subtitles Theatre of the Oppressed NYC Housing Works  "All Your Sisters" (Cheese On Bread, 2017) danfishback.com @motazmalhees thefreedomtheatre.org TRANSCRIPT DAN: So many people warned me against making work like this. And yeah, I got canceled, but in the process, I have tremendously powerful friends now that I didn't make before. MOTAZ: Doesn't it make you stronger after they cancel it? DAN: Yeah, of course. Yeah. MOTAZ: Didn't it make you more like want to do it? DAN: Oh, yeah. MOTAZ: That's a good thing, then.   [MUSIC: Unsettled theme by Nat Rosenzweig]   MAX: Welcome to Unsettled. My name is Max Freedman, I’m one of the producers of Unsettled and your host for today’s episode. Now when I’m not working on this podcast, I’m a theater artist, and I know how hard it can be to make a life in the theater and get your work out there. However hard you think it is, imagine you’re trying to tell stories about the occupied West Bank. Enter Dan Fishback and Motaz Malhees. Dan and Motaz both made waves in the New York theater scene this fall with plays about Palestine. Motaz was in New York performing with the Freedom Theatre of Jenin in “The Siege,” a play about the Israeli siege of the Church of the Nativity in Bethlehem, during the Second Intifada. Dan, on the other hand, made waves because of a play that didn’t happen, rather than one that did. His play, “Rubble Rubble,” was supposed to go up at the American Jewish Historical Society, but they cancelled it. I’ll let him tell you why -- and what happened next. Dan and Motaz didn’t know each other before, but I had the privilege to get them in the same room to talk about their work and as you’ll hear, they had a lot in common. In preparation for this interview, I dug through years of old journals and found my entry from the day I first met Motaz, when I was in Jenin, three summers ago. Really big and underlined a few times, I had written two words: CULTURAL RESISTANCE. So that’s our theme for today. Quick note: besides the three of us, at one point you’ll hear the voice of my co-producer Ilana Levinson. I think that’s all you need to know, so, let’s get started!   MAX: Welcome to Unsettled. Uh, why don't you start by introducing yourselves? MOTAZ: Eh, first of all I am so happy to be here with you guys that's before I introduce myself. I am Motaz Malhees, so I am an actor from Palestine, I used to work with the Freedom Theatre since 2010. I do a lot of politics theatre but also the same time I do also for community, I do like for kids show. But I feel like, whatever needs, I give, like...it’s not important the type of theatre I do. But nowadays I'm freelance, and I work like with all theatres in Palestine, my country, because I don't want to be just involved with one place -- even that's I always say that the Freedom Theatre, that's my place and my home. DAN: I’m Dan Fishback, I’m a...I make performance and music and theatre in New York, I’ve been here since 2003 -- I don't know, what do you want to know? MAX: Where’d you grow up? DAN: Oh my gosh! I grew up in a pretty normal American Reform Jewish family, outside Washington, DC in Maryland. In a family that...was essentially a liberal Zionist family, although I don't think they would have necessary articulated themselves like that, they just imagine themselves being normal. And I heard growing up, “If only the Palestinians were nonviolent, then they would get what they want. Because they're asking for something reasonable, but it's because they're violent that things are problem....that that's the reason why there's a problem.” And like, the older people around me as I was growing up were always saying, “If only there was a Palestinian Gandhi” -- that was like the refrain, over and over again. And now I find myself 36 years old, going back to my communities and being like, “There’s this huge non-violent Palestinian movement! And it’s international and we can be part of it, it’s boycott, and blah blah blah.” And everyone’s like, “Oh no, no no, this makes us uncomfortable too.” I'm like, “This is what you were begging for my whole childhood! And now it’s here! Why aren’t you excited? Why aren't you as excited as I am?” That’s where I’m from. MOTAZ: That’s cool. DAN: And it’s an honor to be here with Motaz, whose performance in “The Siege” was absolutely amazing. MOTAZ: We not sure, but there is like people who really want to bring it back to the U.S. again, because it was a really successful show like for the Skirball Theatre, even like they almost sold out. MAX: Let me back you up a second, because, I want you to imagine that I have never heard of “The Siege,” have never heard of the Freedom Theatre. Can you tell me -- tell me what it was, tell me what it is. MOTAZ: “The Siege” it's a story about the invasion happened in 2002 in Palestine. There was like eh...invasion for the whole West Bank: in Jenin, in Nablus, all the cities. Like, one of them was Bethlehem, and in Bethlehem there was like a group of fighters, freedom fighters, who fight and defend back from their homeland. They have like many guns defending themselves, and they have in the other side -- the Israeli side -- there is tanks, Apache, Jeeps, all kind of guns you can imagine your life, heavy guns. And they were like around 45 fighters, 250, 245 civilian -- priests, nuns, children, women, and men, from both different religions -- who’s like stuck inside the Nativity Church for 39 days. With the like first five days they have food, after that they have no food. And they surrounded with around 60,000 soldiers from the Israeli army. They want, like, to finish it. So they, they have pressure, they don't wanna -- even the fighters, says khalas, it’s enough. Their people are suffering, their families are suffering outside because of that. So, they sent them like a paper, they have to write their names, the number of their IDs they have, and their signature. So, the fighters sign on it, and they know that's thirteen going to Europe and twenty-five are going to Gaza. They don't know even where they going. So, they sent them to exile the same day. DAN: When my friends and I were leaving the theatre, all we were talking about is, we were so curious about what their lives would be like after fifteen years of exile and we couldn’t wrap our minds around it. MOTAZ: I know one of them is personally, and he told me a lot about it. And it’s really important to bring this piece because of one reason: they didn't choose. Even they signed the paper that say they have to go to exile, but like they was under pressure, and they thought it's temporary and that they would return. And eh, I know how much they are really broken from inside. They never show this to people.But from inside, if you know them personally, they are really broken, and they just...all they want, just to see like at least their families. Some of them, they can’t. Their family, like they can't get the visa to go to visit them -- like, for example, the two guys, Rami Kamel, and Jihadi Jaara who living in Dublin, they haven't seen their families at all. One of them, like Jihadi he have a son that's his wife give birth like after one week he was sent to exile. He didn't even touch his son, he's fifteen years old, like...at least, like, okay, you don't want to send him back to Palestine. Let his family visit him! Like, this is the minimum of humanity. And eh...a really important point we have like always to say: those people was in their homeland, they was in their own city, and they fight back. They didn't went to...yeah, to Tel Aviv to fight, or to somewhere inside Israel, to fight the people over there. They was fighting the…defending themselves from the Israeli army. MAX: How did you get started with the Freedom Theatre? MOTAZ: Woo hoo! Since I was like, eh…fourteen I heard about it, or thirteen -- and I was dreaming about to be in there cause I’m, since like eight, nine, I start doing acting. It's like something I really love from inside, like I really really want to be an actor. Not because like I wanted a name. Because I can hold the stories, I can share stories for all over the world, I enjoy it, it's something beautiful and strong in the same time. So when I was sixteen, I heard about the hip-hop workshop, dance hip-hop workshop in the Freedom Theatre. So I went there and I apply for it, and I get involved with the workshop, and the last few days Juliano just came and he said, “We open a new class for theatre.”   MAX: Juliano, who Motaz just mentioned, is Juliano Mer Khamis, who started what is today, the Freedom Theatre. Real quick, I want to tell you the remarkable story of the Freedom Theatre of Jenin. During the First Intifada, Juliano’s mother, a Jewish Israeli Communist named Arna Mer, came to Jenin, where she helped to establish housing and educational programs for children in the refugee camp there -- and eventually a children’s theatre called The Stone. Arna died of cancer in 1995, and during the Second Intifada, the Stone Theatre was destroyed. Arna’s son Juliano returned to Jenin for the first time since his mother’s death in the immediate aftermath of the Battle of Jenin, and made an incredible film called "Arna’s Children" -- Motaz will tell you more about this in a bit, but it’s on YouTube and I highly recommend it. It was after finishing this film that Juliano returned again to Jenin to found the Freedom Theatre. In 2011, Juliano was assassinated, but the Freedom Theatre has persisted. Alright -- back to Motaz.   MOTAZ: So I get involved and I put myself in that place since 2010. And it’s been like around...now, now you could say like eight years almost. It is...hard and eh, good in the same time. It is, ‘cause you face emotion, a lot of different emotion. But I love it. It's like, it’s become my home now. I’m always there. Even if I have nothing, I go pass by drinking coffee there like, chill, see what's going on, if they need help or something, because I'm part of the family. MAX: Well we met because I went to visit the Freedom Theatre. And you were just hanging around and we sat there and talked for an hour. MOTAZ: Yeah yeah. MAX: Alright, so, Dan. DAN: Yeah. MAX: Tell me about your work and particularly tell me about “Rubble Rubble” and the genesis of that project. MOTAZ: I wanna hear about it. DAN: Well I've been working for the past decade on a trilogy of plays that sort of explore the inner life of the Jewish left in the United States over the past century. And this last play, “Rubble Rubble,” which I've been developing for the past few years, starts in the West Bank in an Israeli settlement. And you find this family that I've been writing plays about -- which is a very far leftist socialist radical family -- you see that that family has split off, and there's like a right-wing side of the family that has become settlers. And the left-wing anti-Zionist member of their family travels to visit them, after they haven’t spoken in twenty years. MOTAZ: Whoa. DAN: And the family confronts each other over his huge chasm, where one person is like a Palestinian solidarity BDS supporter and the rest of the family are like... MOTAZ: Pro-Israel. DAN: They're like settlers! Like living on stolen land, even though, but they’re middle aged American Jews who in the sixties were like radical New Left, you know, people. I’m fascinated by how many American-Israeli Jews were like super far on the left in the United States and then became these horrible oppressors in Israel. It blows my mind that it's possible to make that transition within the course of one life. And so, and that's where the play starts, and um…and I've been developing it for a few years, I went to Israel-Palestine to research for the play, I spent two weeks with interfaith peace builders traveling all through the West Bank and meeting with different non violent Palestinian and Israeli activists. I spent a week interviewing settlers, which was extremely disturbing. Um, and then I’ve been developing this play, and it was gonna have its first public reading at the American Jewish Historical Society in Manhattan and, um, a couple weeks ago -- I guess now around a month ago -- we went to their offices for a meeting and everything was very positive, they were very excited to have us, the staff was very supportive of the work. And we heard that there was a right-wing smear campaign against the organization's new CEO. And we were told, “This is all happening but don't let it bother you. We might have to cancel that other thing, but we're not going to cancel your play, because we, we're really excited about it.” And literally the conversation we had was about raising the budget for our play. Eight hours later, I got an email saying that the play had been canceled. MOTAZ: What? Was there any explanation about it? DAN: Well, I knew that it was... The institution itself never sent me like a formal letter or anything, but I knew that it was because of this right-wing Zionist pressure campaign that they were being pressured to fire their new CEO, and in order to try to get rid of that critique, they were just going to get rid of us. And the staff of the American Jewish Historical Society was very supportive of me, and I don't see them as my enemies at all. It was the board of directors, or at least a small group from the board, met in the middle of the night and made this decision. And this is what happens all the time in Jewish organizations: the people actually doing work are willing to make brave choices, and the people who are funding that work are not willing to let anyone make those choices. MOTAZ: Yeah yeah yeah, this happened with the same thing almost with us. DAN: Yeah, at the Public, right? MOTAZ: Yeah yeah yeah, it's almost the same, I like, I don't know who’s stand with us or who is against us, but we had this question for Oskar, which is the Artistic Director of the Public Theater, and his answer was really diplomatic answer and I respect -- no Oskar, he’s really great guy and he was one of the supporters to bring this play over here, and the most important thing, he says, that's to bring “The Siege” for the New Yorker people and we did it. It’s not about the place. DAN: Well, that was interesting about Oskar Eustis and “The Siege,” is that it was supposed to be at the Public Theater, the board canceled that choice. But Oskar, who is the Artistic Director of the Public Theater, he had notes in the program for “The Siege” production at the Skirball Center. And I was like, this is so unusual that you open the program and you see notes from the director of the theatre that canceled the play! MOTAZ: Yeah yeah. But, I want to hear more about Dan play, man. DAN: Sure, yeah. MOTAZ: I would like to know what is the story? DAN: Well, I can tell you about the story of what happens in the play, but what I also want to say is that, after we were canceled, the New York theatre world became incredibly supportive of us. And people really came out of nowhere to offer support and offer help. We raised our budget that had been canceled from American Jewish Historical Society within three days. MOTAZ: Whoa. DAN: Yeah. And we were offered resources that we couldn't have ever imagined. And to me, that was a huge sign that the people who are trying to censor dissident voices around Israel-Palestine are going to fail in humiliation. Because our work is stronger than ever after having been canceled, because people are so angry about it. People who are, who don't really know very much about it, are angry about it. And there are left-wing Zionists in my life who don't agree with me, but who are so angry that the play was canceled -- and it’s put them in a situation where they are more open to my ideas, and more open to considering the ideas of the play. So, I mean -- and we’re going to do the reading of the play, it's going happen next year, the details aren't confirmed, but it's going to be bigger and more interesting and more spectacular than it would have been if it hadn’t been canceled in the first place. Which is interesting. The play itself -- it’s funny because the people who canceled it never read it. And it's weird, like if they read it I think they'd be like, “Oh, this is weird.” It's a weird play. The first act is like a very traditional living room drama in a family. So, there's the aunt and uncle, who are middle-aged formerly left-wing radical American Jews who live in a settlement. There's their radical nephew, who shares my politics but is not a sympathetic person. He’s kind of...nasty and annoying and neurotic. And he’s there with his partner who’s Colombian and has no context for any of this. So I really wanted there to be a character who doesn't really have any stake in the game, doesn't have any history with Israel-Palestine, just comes from another part of the world entirely, but who has...a personal history of violence. Because he grew up in a part of Colombia that experienced a lot of violence. Whereas, I think a lot of white American Jews, violence, revolution, all these ideas are abstract concepts, and we don't experience them in our real lives. So he's coming at -- that character, who in a way is the central character of the play -- is coming at things from a totally different context. And I don't want to give anything away, but by the end of the first act, things go horribly wrong, and the first act ends with an enormous disaster. And the second act begins, and it's a musical, and it takes place in Moscow in 1905. And it's the same family, but a century before, and the matriarch of the family is building bombs for the socialist revolution of 1905. MOTAZ: So it’s almost flashback? DAN: It’s like a flash -- it's like an ancestral flashback. MOTAZ: That’s interesting. DAN: So you see the ancestor of the same family, and she's like a socialist revolutionary. She's building a bomb, she wants to like blow up the Tsar. And...and the ideas of the first act are sort of filtered through the music of the second act, where you see her with her socialist comrades. And what I want to ask is: How did this family go from here to there? How did it get from one place to the other? And, and the other question that I'm really interested in asking is like: Once you learn that there's an enormous injustice around you, how far are you willing to go to stop it from happening? How much violence are you willing to accept in order to stop something? Which is a huge question, I think, for anti-Zionist Jews when it comes to Palestine, like how...what are we supposed to do, knowing this horrible thing is going on? It's a huge question within Palestinian society, obviously, like what are you willing to do to stop this from happening? And it’s been a huge question throughout Jewish political history, which is full of violent resistance to injustice, and we act like were so horrified by violence, but Jewish history is full of it. So, those are the questions that I'm dealing with, and I don't think that the play offers any straightforward answers. And that's the interesting thing about the play being canceled or censored, is that the play itself is about what happens when two sides of a Jewish family can't communicate, and shun each other. And that’s what’s happened with the play, that we were being shunned just like family members are being shunned. And when I was in Israel, researching the play, and I would tell people what the play was about -- you know, it's about a Jewish family that's separated over Israel, and the Israeli side doesn't talk to the American side -- and every single person I talked to was like, “Oh, that's just like my family. That's my family, that happened to us.” And I was like, oh, right. This is bad for everybody. This destroys families, this injustice is destroying everybody involved in it. MOTAZ: Yeah, I mean like, even if it’s happened, like something like, my grandparents, whatever it takes place, I will not do the same thing in a different place. DAN: Right? This is the big Jewish catastrophe of the twentieth century, that you take one of two decisions, right? You either, you take all the trauma and you say, “This will never happen to us again, and we will do anything to protect us.” Or you say, “This will never happen to anyone again.” MOTAZ: What, like, Jewish used to live in Yemen, Morocco, Egypt, Palestine, many Arab countries, there was normal to see like this Muslim, Christian and a Jewish neighbor and eh, like an atheist beside him, and all of them are living in the Arab world like normally, like -- let's be honest, even though the Arab history is not clear, like there is many bad things from the Arab history also like... But eh, we used to live like together, so the thing is not religion. I don’t believe it’s religion, it’s mentality. It’s... DAN: I was talking, I was having an argument in a restaurant a couple years ago with a Zionist Jew, and we were fighting really passionately. And someone, a stranger came up to our table and said, “Guys, stop fighting about this. It's an ancient struggle that's been going on thousands of years.” And we both looked at him, both of us agreed, we were like, “No, it isn't! This is new, this is in the past like less than 200 years that this has happened, come on.” We were like, “Go sit down. Finish your lunch, hon. Get out of our faces.” There's so many lies about it. But this is...I feel like this is the work, this is the cultural work of American Jewishness right now. We've been brought up with such a distorted understanding of the world. And it's gonna take so much cultural work to undo it all. MOTAZ: Yeah, and it's gonna make a lot of enemies at the same time. DAN: Oh yeah. But I think my situation proves that it's also gonna get…it's not gonna be completely a disaster. You know, everyone -- so many people warned me against making work like this. And yeah, I got canceled, but in the process, I have tremendously powerful friends now that I didn't make before. MOTAZ: Doesn't it make you stronger after they cancel it? DAN: Yeah, of course. Yeah. MOTAZ: Didn't it make you more like want to do it? DAN: Oh, yeah. MOTAZ: That's a good thing, then. Okay, what’s the next question? MAX: So, for both of you, why is culture your weapon of choice? MOTAZ: Woo hoo! Because eh… Dan, you go ahead. DAN: ‘Cause its more powerful! Like…violence only ever creates more violence. I think this, like, even when it's necessary, it ends up being true. Culture is the only human practice that can actually dig into the root of a trauma and try to undo it in the first place. Um, and this is why people are so afraid of culture, and in particular theatre. ‘Cause when there's a human being in front of you having an experience, it’s very difficult to ignore them. It's hard to ignore a play. And, and so many…especially, so many American Zionist Jews are under -- on an emotional level, understand that their perspective is impossible. ‘Cause if you ask most American Jews, “Do you believe that it is right for a country to privilege one ethno-religious group over others?” Most of them will say, “No, that’s wrong. That is a wrong thing.” And then you say, “Well, what about Israel?” and they'll go, “Uhhhhhh…” But the fundamental truth, the deeper truth is that none of us actually support this. It's, the the support for Israel is the more superficial belief. The deeper belief is that this is wrong. Good plays, good art, good visual art, good music, good anything about this will help strip away the sort of superficial attachment to the, to the story of Israel, and help people get to the deeper belief that supremacy is wrong. No matter who is supreme in any given situation, it will always be wrong. ILANA: Sorry, I just wanna um, in the conversation about Zionism, I’m wondering... DAN: Do you want me to define that? ILANA: Yeah, I’m wondering specifically if you think any form of Zionism involves supremacy and that kind of thing. DAN: You know, I identify as an anti-Zionist Jew, and a lot of people, a lot of people will say, “Oh, don't say that, because it’s icky, it makes us uncomfortable to say you're anti-Zionist. Because, 'cause what does that really mean.” And for me, if it was the early 1900s, maybe I would have identified as like a Cultural Zionist. But to me, the way the word Zionism functions in the world, it’s support for a Jewish state of Israel. And to me, that means that Zionism inherently requires one to believe that Jews should reign supreme in this land, and I think that that's an untenable option. MAX: I…I sort of wanna respond. DAN: You wanna get into it, Max? MAX: No, I don't -- no, I don’t wanna argue with you…that's not… I will confess that I am skeptical of people who call themselves anti-Zionists who are not Jewish and not Palestinian. I... DAN:  Yeah yeah yeah, me too. I think that part of the, part of what it means to liberate Jews in the world, is to liberate us from our trauma, and to liberate us from that pain that…that distracts us from the reality of the world. And that requires our friends to help us get through that trauma, and to help us liberate ourselves from that trauma, and that requires non-Jewish people who oppose Zionism to make sure that we are emotionally capable of, um, of joining with them and being in community with them. And to me that's always like a challenge to my non-Jewish friends and comrades to be like, if we’re gonna do this together you need to understand that we’re…we just barely made it alive into this century, and a lot of us have like legitimate fears for our lives. I mean, we’re living in the United States where there's like a Nazi problem, right? Like our fear of violence is real and legitimate and um, when people say there's like no anti-semitism on the left in the United States, to me that's like so foolish. Like obviously, there's some anti-semitism in any part of the world, in any community. MOTAZ: Of course, of course…that's true. DAN: And when we pretend it doesn't exist, then we’re...I think we make so many other Jews feel unsafe joining us in this movement, because we're saying something that's obviously untrue and they don't trust us ‘cause it sounds like we’re lying to them. From my perspective, we need to say it: yeah, there's totally some anti-semitism on the left. And we need to deal with it, and our non-Jewish comrades need to deal with it, so that we can see that this is a safe place for us to be. MOTAZ: Nobody called you before, like you are anti-semitic after all the things you did? DAN: Oh yeah. MOTAZ: And you are Jewish. DAN: Oh yeah. Motaz, I need to tell you, I've gotten a lot of hate mail in my life and it's never as aggressive as other Jews. They’re the ones that tell me I should die. What they always say is, “You should go to Palestine, where they’d kill you.” They say this all the time, and I’m like, “I’ve been to Palestine, dude!” MOTAZ: So if some of the guys gonna hear this interview, Dan, you more than welcome in my house in Jenin. Nobody gonna kill you, you gonna love it. So come back to the first question? MAX: Yes, yes, finally... MOTAZ: Why cultural... Because I'm fed up. I have seen like many people got killed in this entire world since I was born. And see blood everywhere, why it’s need to be violent? Why that question? Why don't we turn the opposite question: why we have to be violent? Because it's like, we fed up, we are like, we are human. There is many people that think, like, “Oh, they was born like this.” No, they was not born like this. There is something happen to them. Like, if you watch there is a really important and good movie, it’s called “Arna’s Children,” Little kids, he talking about this story a lot, little kids. And they was dreaming about to be a Romeo of Palestine, them want to be Juliet, one of them he want to be Al Pacino. They wanna be actors. Suddenly, in a moment in 2002, you see those people got killed. And they became a freedom fighter before. Why? One of them his mother got killed by a sniper. One of them, after they bomb a school, he went to the school and he grabbed the body of a girl and she was almost alive, while he was running through the hospital, she died. So, his...of course he was gonna have a flip in his mind, and he gonna hold the gun and fight. So those people, they didn't like came from nothing. There is a reason always to do this. Even like I'm not into like guns or things, that's why I choose also art because I believe art is more stronger than a gun. And I don’t want to see any person on earth suffer. Like death is coming anyway, like you gonna die, but why we have to kill each other? Destroying, destroying. Like, I can make art which is strong, I can bring the messages, not just from my place, from all over the world and develop it to the stage. And eh… I think it's, let's make it, let's be cultural more. Let's let the art talk. And eh, we not gonna fake history, we not gonna fake stories, we gonna bring the story as it is. DAN: And this is why they’re so afraid of theatre. MOTAZ: Yeah! DAN: Because theatre shows the reasons why a person does something, and they don't wanna look at the reasons. MOTAZ: Man, I start to believe in this thing in 2012. I was going to the theatre in a taxi and there was checkpoint, and they stop me. ‘Cause I have no ID. I told him, like “I’m late for my theatre.” And he said, “Oh, you’re going to the Freedom Theatre.” He said like, “Come on man, they killed Juliano, they could kill you too.” And I said like “Why?” He said like, “Art will not change anything man. Why you need it?” And I said, “It's fine, for you it's nothing, but for me...” And he told me, “If you don't have your ID next time, you go to prison. And I promise you.” So since that time I just realize how much art is strong, and how much they afraid from art.   MAX: Here’s Motaz in a scene from “Return to Palestine,” devised by graduates of the Freedom Theatre acting school. [Excerpt from "Return to Palestine," in Arabic]   MAX: So, the work I do here in New York City is mostly with an organization called Theatre of the Oppressed NYC. MOTAZ: Yeah, I know. MAX: Where I work with a lot of different groups of people. Right now I’m working at Housing Works, which is an organization that um…I think this is the blurb from their website, “works to end the twin crises of HIV/AIDS and homelessness.” MOTAZ: Whoa. DAN: Easy. MAX: Yeah, right? I’m working with a group of folks from Housing Works on a play that they created about their experiences trying to keep and get affordable housing, with housing vouchers that they have because of their status. And… that’s just one example, I’ve worked on a lot of plays, and the way that sometimes I think about what those plays are meant to do, is is kind of in two areas: there’s the sort of, I mean, the way that I talk about it with my family, which is very much in the kind of like raising awareness camp, in the sense that people come to see these plays, they don’t know anything about tenant harassment in New York City and they learn about it. And then, really what it was designed to do by the folks who came up with this stuff in Brazil in the seventies, which is to build capacity in that community. Um, these theater tools are tools for people to work together to make change. I’m wondering if that resonates with you at all, and sort of -- what do you see your work in theater doing? DAN: Obviously I like plays that do all of these things at the same time. MOTAZ: Yeah. DAN: But, as a playwright, if you go into a project with too much of a vision of like what kind of responses you want from your audience -- an audience knows when you’re trying to manipulate them, and at the end of the day, an audience knows when something is authentic. So, being a playwright is about balancing your vision for what you want to happen in the room, and your relationship to your own imagination and your own impulses. MOTAZ: And the thing is like, if you don’t believe it, the actors will never believe it, then the audience will never believe it. DAN: Yeah, totally, and a lot of political theatre gets a bad rap, because I think a lot of political theatre is only thinking about, how can we make an impact with this audience? And it feels false. MOTAZ: I’m interested to know about, Dan, like -- normally, when you write, you give solution for the people? Or you give them a question to find the solution? DAN: I don’t give solutions, no. MOTAZ: You give a question. DAN: I give the questions. Yeah yeah yeah yeah. MOTAZ: Good, yeah. DAN: If I feel like I know concretely an answer to something, then I don’t need to write the play. I will just write an essay.   [MUSIC: Cheese on Bread, “All Your Sisters”]   MAX: Motaz had to leave, and I got to talk to Dan for a little while longer about the difference between boycott and censorship, and why he wants to start identifying as a “liberationist Jew.” If you’re not already subscribed, SUBSCRIBE to Unsettled on your podcatcher of choice -- because, in a couple weeks, you’ll get a bonus episode with the rest of our conversation. In the meantime, you can find Dan’s work at his website, danfishback.com, and follow Motaz on Instagram @motazmalhees, that’s M-O-T-A-Z-M-A-L-H-E-E-S. The song you’ve been hearing is "All Your Sisters" by Dan Fishback’s band, Cheese On Bread, from their forthcoming album "The One Who Wanted More,” coming out next year. You can find the song, a full transcript of the episode and other resources at our website, unsettledpod.com. Unsettled is produced by Emily Bell, Asaf Calderon, Yoshi Fields, Ilana Levinson, and me. This episode was edited by Ilana Levinson. Original music by Nat Rosenzweig. We recorded this episode in a studio for the first time -- shout out to Cast Sound Lab in Brooklyn, New York. Go to our website, unsettledpod.com, for more show information. We want to bring you more content in more different forms, and to make that happen, we need your support! So you can become a monthly sustainer at Patreon.com/unsettled. You can like Unsettled on Facebook, follow us on Twitter and Instagram, and subscribe on Apple Podcasts, Google Play, Stitcher, Overcast, or wherever you get your podcasts, to make sure you never miss an episode of Unsettled.

It was at the Moscow Art Theatre from the 1890's onwards that Stanislavsky developed an innovative acting system that demanded actors really inhabit the role they are playing. This then inspired Method acting, which originated in the United States, and whose disciples range from Marlon Brando to Marilyn Monroe to the majority of big stars around the world today - some of whom have taken the system to an alarming extreme. This programme explores Stanislavsky's life and legacy, and also asks if his work has a role outside the theatre. Joining Bridget Kendall are Maria Shevtsova, Professor of Drama at Goldsmiths University of London, the Russian theatre historian Dr Arkady Ostrovsky, and the actor and director Bella Merlin. Photo: Anton Chekhov, in the centre of the picture, reading his play 'The Seagull' with theatre director Stanislavsky on Chekhov's right. (Hulton Archive/Getty Images)

What do Anton Chekhov, Dr. Seuss, and Bruce Springsteen have in common (aside from similar haircuts)? Their work has been misunderstood and misconstrued--whether they knew it or not. Episode two kicks off a four-episode mini-arc about the ethics and ironies of interpretation and adaptation. Fair warning: after hearing this episode, you might never view The Seagull, Antonin Scalia, or Green Eggs and Ham the same again.

Marlon Brando was a legend in his own lifetime. At the peak of his film career in the 1950s he created a series of film performances including the character Terry Malloy in On the Waterfront that not only defined him as an actor, but defined an era marked by the rise of the Stanislavsky and method schools of acting. By the end of the 1950s Brando was at the top of his game, loved by actors, the studios and the public a like. His films minting millions of dollars. This all changed with the making of two films that have since become cult classics, the psychological western One Eyed Jacks, Brando's only official directorial effort and the seafaring epic Mutiny on the Bounty which Brando virtually directed by default. Brando's reported behaviour behind the scenes of both films would have a long lasting effect on the studios that commissioned both movies and his personal and professional career. Enjoy the eventful story of One Eyed Jacks and the Brando Mutiny as told by Mrs Classic Film Fan.    The music "The Wild at Heart" is by Jonny Easton.  Have a great Easter break and look out for the next Classic Hollywood MTC episode in May.   

Abstract: In this episode, Karin and Elizabeth, discuss Michael Jackson as an actor. The focus on his life, performance, film and how he was able, and what he used to play his audience. REFERENCE AS: Merx, Karin, and Elizabeth Amisu. “Episode 23 – Michael Jackson as an Actor" Michael Jackson's Dream Lives On: An Academic Conversation 3, no. 4 (2017). Published electronically 7/03/17. http://sya.rqu.mybluehost.me/website_94cbf058/episode-23/ The Journal of Michael Jackson Academic Studies asks that you acknowledge The Journal of Michael Jackson Academic Studies as the source of our Content; if you use material from The Journal of Michael Jackson Academic Studies online, we request that you link directly to the stable URL provided. If you use our content offline, we ask that you credit the source as follows: “Courtesy of The Journal of Michael Jackson Academic Studies.” Episode 23 - Michael Jackson as an Actor by Karin Merx & Elizabeth Amisu It is important to understand that Michael Jackson was taught from a young age how to act to not offend white people. Karin Merx BMus, MA, is editor of The Journal of Michael Jackson Academic Studies, and author of  ‘A festive parade of highlights. La Grande Parade as evaluation of the museum policy of Edy De Wilde at the Stedelijk Museum Amsterdam'. Find out more about Karin here. Elizabeth Amisu, PGCE, MA, is editor of The Journal of Michael Jackson Academic Studies and author of The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife. Find out more about Elizabeth here. All Our References and Where to Easily Find Them 1. Karin Merx, Elizabeth Amisu, Roberta Meek, and Lisha McDuff. “Episode 8 – MJAS Exclusive: Michael Jackson & Prince Part I (with Lisha McDuff & Roberta Meek).” Podcast, Michael Jackson's Dream Lives On: An Academic Conversation 2, no. 3 (2016). 2. Karin Merx, Elizabeth Amisu, Roberta Meek, and Lisha McDuff. “Episode 9 – MJAS Exclusive: Michael Jackson & Prince Part II (with Lisha McDuff & Roberta Meek).” Podcast, Michael Jackson's Dream Lives On: An Academic Conversation 2, no. 3 (2016). 3. Ed. Encyclopedia Britannica, 'Stanislavsky's System' https://www.britannica.com/art/Stanislavsky-system 4. Elizabeth Amisu, 'Thought's on Michael Jackson's Transformation', 'The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife (Praeger 2016) 69-76. 5. Elizabeth Amisu, ' "Liberace Has Gone to War": Undressing Michael Jackson's Fashion', 'The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife (Praeger 2016) 49-58. 6. Karin Merx, and Elizabeth Amisu. ‘Episode 18 – Halloween Special: ‘Ghosts” Podcast, Michael Jackson's Dream Lives On: An Academic Conversation 3, no. 2 (2016). 7. Marina Abramović, The artist is Present, Museum of Modern Art (March 14-May 31, 2010) https://www.moma.org/calendar/exhibitions/964?locale=en. 8. Example of The Artist is Present.

Today we're back at it and things get a little weird at first. We cover lots of stuff, and end with a deep dive on deep dives. Also we unveil a cool new totally free resource by Praxis! Philosophy in 30 Days - https://discoverpraxis.teachable.com/p/praxis-philosophy-course Mentioned in the episode: Subway, 'as if it's true', Brian Brenberg, Stanislavsky, barber shops, baristas, labels, Jewish meditation, Dallas Willard, social justice warriors, Sudbury Valley School, soccer, Why Haven't You Read this Book? Whitney Houston would have failed to mae it on American Idol, deep learning, philosophy in 30 days, Gregory Cokle, balance is boring. Recommendations: Punished by Reward, and Insult to Intelligence. If you are a fan of the show, make sure to leave a review on iTunes. All episodes of the Isaac Morehouse Podcast are available on SoundCloud, iTunes, Google Play, and Stitcher.

Method acting? Meisner? Stanislavsky? Strasberg? - acting technique gets VERY confusing doesn't it? In this episode of 'Five To Thrive', I try and simplify the idea of acting technique with a little help from LA acting coach, Anthony Meindl, and his new book. You see, neither myself or Anthony believe in technique per se - we believe in 'experience' instead. Listen to this week's episode and PLEASE tweet me your thoughts - @rossagrant. Don't forget to share this podcast with fellow actors and I'd also love it if you'd leave a review! Now get out there and THRIVE! If you are an actor who has a higher vision for yourself and your career, come join the Act On This and Bulletproof Actor communities! Act On This - The TV Actors' Network - Main site: https://www.actonthis.tv FB Page: https://www.facebook.com/ActOnThisTV/ FB Group: https://www.facebook.com/groups/ActOnThisTV Instagram: https://www.instagram.com/actonthistv/ Twitter: https://www.twitter.com/ActOnThisTV Bulletproof Actor - Main Site: https://www.bulletproofactor.com Twitter: https://www.twitter.com/BulletproofAct/

El Bolshoi y el Stanislavsky de Moscú, junto al Marinsky y  Mikhailovsky de San Petersburgo son los ballets más importantes de Rusia y aprovechando... See omnystudio.com/listener for privacy information.

Geraldine Fitzgerald and John Houseman: At St. Mary's Church in Manhattan on September 19, 1986 SDCF hosted the second installation in a series of interviews with "Actors Who Direct". This interview moderated by Ike Schambelan, features a discussion with the magnificent directors/ performers/educators Geraldine Fitzgerald and John Houseman. The focus of the talk is a simple one - good directors. Fitzgerald and Houseman lead the audience on a survey of the craft of directing. Throughout two 40+ year careers in stage and screen, these two worked with a veritable who's who of film and theatrical directors including Ciulei, Kazan, Reinhardt, Stanislavsky, Wells and Wyler; In this interview the pair discusses who their favorites are, and why. They outline the difference between the crafts of acting and directing for film and the stage. They engage in the eternal debates on methods of acting and the most effective means of collaborating with actors. Fitzgerald tells of her own experience as one of the first Tony nominated female directors for Mass Appeal while Houseman recounts the landmark productions of the Mercury Theatre, which he began with Orson Wells. They conclude by conceding that they are most effective as directors when they show the kind of personal vulnerability that encourages their actors to explore and create. Originally recorded - September 19, 1985. Running Time - 1:19:59 ©1985 SDCF

Match 4 of Round 1: Featuring the talents of: -Richie Kormos -Frankie Bertelle -Rob Milano -Christian Jimenez -Sarah Spagnuolo -Sully Jessup -Amelia Monstra-Gonzalez -And Billy Manton

In 2002, Arthur Penn sat down for a One-on-One conversation with SDCF Executive Director David Diamond to discuss his triple-threat career in theatre, television and film. He tells the story of his launch into theatre from the army, followed by an early career in TV and the Actors Studio. He talks about his relationship with Bill Gibson which launched two of his biggest successes: "The Miracle Worker" and "Two for the Seesaw", and shares humorous anecdotes about working with Lillian Hellman, Sammy Davis, Jr., George C. Scott, Henry Fonda and the geneses of "The Golden Boy", "Wait Until Dark", "Sly Fox" and his film "The Left-Handed Gun". Mr. Penn discusses his approach to directing, the importance of casting and his embrace of Stanislavsky's Method for both theatre and film. Other topics include the shrinking audience for theatre today, the self-serving nature of Hollywood, and his early inspirations in Elia Kazan and the Group Theatre. Mr. Penn's positive attitude about both the highs and lows of his career is inspiring, and this ninety-minute discussion with the legendary director should not be missed.

La venida de Pinker & Dennett a Chile, el método Stanislavsky, Paul Ekman, las emociones y el mind-reading, la serie Lie to Me, ilusiones ópticas, la ciencia cognitiva de la percepción de los rostros, y el porqué somos tan buenos (o malos) detectando mentiras.

La venida de Pinker & Dennett a Chile, el método Stanislavsky, Paul Ekman, las emociones y el mind-reading, la serie Lie to Me, ilusiones ópticas, la ciencia cognitiva de la percepción de los rostros, y el porqué somos tan buenos (o malos) detectando mentiras.

At St. Mary's Church in Manhattan on September 19, 1986 SDCF hosted the second installation in a series of interviews with "Actors Who Direct". This interview moderated by Ike Schambelan, features a discussion with the magnificent directors/performers/educators Geraldine Fitzgerald and John Houseman. The focus of the talk is a simple one - good directors. Fitzgerald and Houseman lead the audience on a survey of the craft of directing. Throughout two 40+ year careers in stage and screen, these two worked with a veritable who's who of film and theatrical directors including Ciulei, Kazan, Reinhardt, Stanislavsky, Wells and Wyler; In this interview the pair discusses who their favorites are, and why. They outline the difference between the crafts of acting and directing for film and the stage. They engage in the eternal debates on methods of acting and the most effective means of collaborating with actors. Fitzgerald tells of her own experience as one of the first Tony nominated female directors for "Mass Appeal" while Houseman recounts the landmark productions of the Mercury Theatre, which he began with Orson Wells. They conclude by conceding that they are most effective as directors when they show the kind of personal vulnerability that encourages their actors to explore and create.

Donna Davis, actor, director and acting instructor, working in Berkeley California, teaches Stanislavsky's acting method as interpreted by Maria Ouspenskaya and Richard Boleslavsky , both of whom started and ran The American Laboratory Theatre in the early 20th century. Ms. Davis talks about her acting workshops in these segments.Part 2 - Working Against Type and Character Development (6:18)Part 2 - Very Close to CD-Quality MPEG-4 (Broadband) (5.9M)Part 2 - High Quality MPEG-4 (ISDN) (3.0M)Part 2 - Highest Quality MPEG-4 available for Dial_up (2.2M)Part 1 - Overview of Acting Workshops (6:49)Part 1 - Very Close to CD-Quality MPEG-4 (Broadband) (6.3M)Part 1 - High Quality MPEG-4 (ISDN) (3.2M)Part 1 - Highest Quality MPEG-4 available for Dial_up (2.4M)