Shayda Shivaei A.M.W Resume Template

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Shayda Shivaei (951) 847-6160, [email protected] Hair: Brown A.M.W. Talent Agency Eyes: Hazel (818) 322-1408 Height: 5’8” [email protected] Weight: 140 THEATRE HANDBAG Lula The Underground Theater Craig Victor BOEING BOEING Gabriella Newport Theatre Arts Center Gigi Fusco Meese UC IRVINE IMPROV TEAM Improviser UC Irvine Andra Whipple ANNE FRANK Anne Frank Christian Arts Theater A MIDSUMMER NIGHT’S Queen Titania Julie Valenzuela DREAM FILM HEIGHTS Julieta Vitti/Lead DTF Pictures Yudho Aditya TEXTURE Lead UC Irvine Daniel Han CAUGHT UP Lead 838MG Ash Gupta HOOKING UP Nurse New Day Films Liz Cane WHEN LOVE HAPPENS Lead UC Irvine Sahar Jahani TELEVISION LEGENDARY STORIES Josephine Earp Travel Channel Doug Segal MTV’S CATFISH: UNTOLD STORIES Crystal MTV David Metzler 90210 Featured Zombie CBS Television Studios Harry Sinclair TEENNICK Teen Host Nickelodeon INTERNET MAGIC OF RAHAT Prankee Penguin Magic Rahat Hossain YOUTUBE NATION Dance Crew DreamWorks Animation Carly Usdin YOUTUBE NATION User Submission DreamWorks Animation Brian Johanson YOUTUBE NATION Dance Crew DreamWorks Animation Lindsay Campbell COMMERCIAL LOOKHU CAMPAIGN Judy Sean Mantooth Ryan Wise VOICE-OVER CERTAPRO PAINTERS Customer Pallas Learning Kelly Duran MUSIC VIDEO TREVOR MORAN’S “I WANNA FLY” Daphne Daniel Kish Andrew Vallentine MODELING BLOOMINDALE’S Model KOECSH Face of Koecsh CACHE Model 838MG Kresha Bajaj GUESS PERFUME LAUNCH Model INDUSTRIAL DERMORGANIC HAIR CARE Hair Model DermOrganic Hair Care EDUCATION LEE STRASBERG THEATRE INSTITUTE Studies include: Method, Sensory, Character Development, Scene Study, Camera Acting, Improv, Movement, Directing, Audition Workshop, Voice/Speech (dialects: British, Irish, Middle Eastern, Spanish, Southern U.S., French, Indian, Russian, Italian) TVI ACTORS STUDIO Studies Include: Scene Study JOHN CASABLANCAS Studies Include: Camera Acting, Scene Study SPECIAL SKILLS Improvisation, Speak Fluent Farsi, Singing *Active Passport .

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PGIP Programme in Detail Rev 3 20
!1 of !6 Giles Foreman Centre" for Acting A LEADING PROFESSIONAL ACTING STUDIO, "BASED IN THE HEART OF SOHO " " " ACTOR TRAINING | FILM & TV PRODUCTION | CORPORATE" COMMUNICATION LONDON | NEW" YORK | PARIS "" What" makes the GFCA 16-month advanced Professional Intensive " Acting/Acting-Directing Programme unique? Our Advanced course is equivalent in level to Post Graduate study. However, the training is designed for those creative individuals - from any background - who have the capacity, ability and motivation to enter the Industry. The programme involves 30+ hours of intensive classes and rehearsal exercises per week, taught by top- level specialist coaches, each with extensive professional experience. There are in-house showings throughout the course, and plays are presented to the public and Industry during the final two terms. During the final term, as well as advanced-level classes, students may join the Spotlight Casting Graduate scheme; scenes are filmed for showreel, there are Industry events, and a range of further performance opportunities. These continue after the conclusion of the formal training. We take only a single cohort of Intensive-Route acting students each year, to provide a focussed training designed to bring out individual strengths, and we welcome applications from people from a wide variety of previous backgrounds and experience. The programme is tailored towards the unique mix of talent drawn to our centrally-located Studio from across the UK, Europe and beyond. We have excellent links with UK and European Casting Directors, as well as a base in New York, and ofer many opportunities to showcase talent to European casting directors, largely due to the strong connections formed by our Director, Giles Foreman and his extensive work as a film acting-coach.
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BACKSTORY: the CREDITS an Actor
BACKSTORY Your behind-the-scenes look at TimeLine productions YESTERDAY’S STORIES. TODAY’S TOPICS. From Artistic Director PJ Powers a message Dear Friends, that their “Person of the — can influence history is made With his blend of social classic for the ages. You just Year” was You. Me. Us. The through activism, be On behalf of TimeLine’s not only in commentary and might be surprised that the average citizen. it personal, social or entire company, I am government emotional complexity, age in which it was written political. thrilled to welcome you to Admittedly, upon first buildings and Odets revolutionized the really is not our own! our 11th season! Each year hearing that, I thought There are many complex at corporate American theater during As we usher in a second we go through a series of it was a poor excuse for issues — not the least of board tables, but in the The Depression by putting decade of making history at discussions about the issues not choosing a person of which will be a Presidential homes and workplaces of the struggles and longings TimeLine, we’re delighted and types of stories we national prominence — a election — that will demand people like you and me. of everyday citizens on the to share another Odets stage. With Paradise Lost, want explore, and this year single someone who had great thoughtfulness in the We begin our season-long play with you. With much he gives voice to those our deliberations seemed made a sizeable imprint on coming year. Each of us will conversation by revisiting to discuss, I hope our little individuals and exposes a even more extensive and issues of global importance.
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TRAINING the YOUNG ACTOR: a PHYSICAL APPROACH a Thesis
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Teaching Resume
RYAN LEE RL THEATRE EDUCATOR WWW.RYANLEETHEATRE.COM OVERVIEW TEACHING PHILOSOPHY Expertise in all aspects of No matter what age or skill level, I approach the student with teaching and coaching acting respect, professionalism, and a gentle hand, which establishes a and performance for theatre, safe environment where creativity and exploration can flourish. film, and television, assisted I find that acting is most interesting when we bring our own lives college applicants with and experience to the work. We then bring to the material truth, university theatre program originality, joy, and honesty that is exciting for both performer to auditions, aspiring child audience to experience. actors ages 9 and up, as well as classes just for fun at every level – from beginning to TEACHING ENVIRONMENTS professional. Teaching environments have included: - University Adjunct Professor - Private Coaching - Professional Acting School - Teaching Artist - Master Class Lecturer - Artistic Director of Theatre Education Program [email protected] 323.972.7533 WORK EXPERIENCE TEACHING ARTIST • QUEENS THEATER • NEW YORK, NY • 2006 – 2018 - Through writing and acting exercises, taught students to create and perform an original play - Created and maintained a curriculum and lesson plan for a twenty-session theatre residency TEACHING ARTIST • LEAP • NEW YORK, NY •2010 – 2018 - Classes including test taking skills, music, playwriting, and theater in over thirty NYC schools ARTISTIC DIRECTOR • LEAP • NEW YORK, NY •2006 – 2010 - Oversaw and maintained the production
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All of the Apple Is Me: Process Work & Acting an Exploration & Practical Guide
All of the Apple is Me: Process Work & Acting An Exploration & Practical Guide Lisa Blair September 27, 2009 Process Work Institute Submitted in partial fulfillment of the Master of Arts in Process Work and the Diploma in Process Work All content and exercises are meant for individual use only and should not be duplicated or distributed for classroom or other use. Please do not make partial or complete copies of this manuscript without permission by the author. Copyright © 2009 2 If I compare myself to a large, meaty, round apple, I discover that my inner and outer cliché image of myself is only a wedge of it – possibly the wedge with the rosy cheek on the skin. But I have to become aware of myself as the total apple – the firm inner flesh as well as the brown rotten spot, the stem, the seeds, the core. All of the apple is me. ‐ Uta Hagen, Respect for Acting 3 4 Table of Contents Acknowledgements............................................................... 7 Introduction .......................................................................... 9 Act I: Acting Techniques for the Actor A Brief Overview of Theories of Acting................................. 23 Actor Preparation.................................................................. 43 Act II: Process Work Techniques for the Actor Identity.................................................................................. 51 Edgework .............................................................................. 57 The Killer ..............................................................................
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At the Core of the Strasberg Curriculum Are the Method Acting Classes
SPRING 2020 CLASSES METHOD ACTING At the core of the Strasberg curriculum are the Method Acting classes. Students are required to take two Method Acting classes per semester, each with a different teacher. These classes are designed to train the actor in Lee Strasberg’s systematic approach to acting known throughout the world as The Method. The technique develops the actor’s ability to respond with real behavior to imaginary stimuli and trains the actor to use their personal experience to fire their imagination. These four-hour classes are divided into two parts: work on one’s self and work on the character. The work one’s self employs Lee Strasberg’s relaxation and sensory exercises to train the actor’s concentration, and eliminate the actor’s individual habits of mental and physical tension, which limit their ability to express. The relaxation is repeated in every class, building over the course of study a keen awareness of one’s body and the ability to relax at will. Sensory exercises are also done each class, but become more complicated throughout the course of study. Sensory work begins with recreating ordinary objects and sensations using the five senses and moves towards more emotional stimuli. This part of class focuses on training an actor’s talent. The second part of class focuses on applying the exercises to scenework and learning how the sensory can help fulfill the demands placed upon the actor by a particular script. Students use the exercises to create organic behavior, make truthful choices, and also learn the way in which improvisation can be used to explore a character’s motivation and deepen one’s understand of the character and scene.
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An Actor Remembers: Memory’s Role in the Training of the United States Actor by Devin E. Malcolm B.A. in The Human Drama, Juniata College, 1997 M.A. in Theatre, Villanova University, 2002 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Theatre History and Performance Studies University of Pittsburgh 2012 UNIVERSITY OF PITTSBURGH Dietrich School of Arts and Sciences This dissertation was presented by Devin E. Malcolm It was defended on November, 5th 2012 and approved by Kathleen George, PhD, Theatre Arts Bruce McConachie, PhD, Theatre Arts Edouard Machery, PhD, History and Philosophy of Science Dissertation Advisor: Attilio Favorini, PhD, Theatre Arts ii Copyright © by Devin E. Malcolm 2012 iii AN ACTOR REMEMBERS: MEMORY’S ROLE IN THE TRAINING OF THE UNITED STATES ACTOR Devin E. Malcolm, PhD University of Pittsburgh, 2012 This dissertation examines the different ways actor training techniques in the United States have conceived of and utilized the actor’s memory as a means of inspiring the actor’s performance. The training techniques examined are those devised and taught by Lee Strasberg, Stella Adler, Joseph Chaikin, Stephen Wangh and Anne Bogart and Tina Landau. As I shall illustrate, memory is not the unified phenomenon that we often think and experience it to be. The most current research supports the hypothesis that the human memory is composed of five distinctly different, yet interrelated systems. Of these five my research focuses on three: episodic, semantic, and procedural.
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John Cassavetes
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Lee Strasberg - the Man Vs
Lee Strasberg - The Man vs. The Method Peter McAllister Abstract: Lee Strasberg (1901-1982) is a divisive figure whose method of acting is often misunderstood. Few people understand what it is or how it works, or its relationship to the Stanislavski System. This is due to a number of misconceptions about the nature of the training with its emphasis on the development of the sensory imagination. This paper aims to challenge some of the myths about the Method, and to clarify Strasberg’s unique contribution to actor training. Keywords: Lee Strasberg, Method Acting, Actors Studio, Stanislavsky, Boleslavsky. For many years now, Lee Strasberg's reputation as a teacher of acting has been repeatedly called into question. Depicted by his detractors variously as "a highly overrated cultural icon"i and as "a dogmatic who brooked no heresies,"ii it has also been suggested that he was largely responsible for the decline of the American theatre.iii Even playwright Arthur Miller chose to ridicule him in his last play, Finishing the Picture, in a thinly disguised portrait of a self-serving artistic fraud called Jerome Fassinger.iv As David Krasner observes in his article, 'I Hate Strasberg,' disdain for him is so intense that it “has become a favorite pastime.”v With so much hostility towards him personally, it's hardly surprising many people find it difficult to separate the man from the Method. In this article, therefore, I wish to re-evaluate the artistic legacy of this hugely controversial figure, as well as to challenge some of the more common misconceptions about the Method.
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Eva Le Gallienne Led a Private Life Troubled by Her Personal Struggle with Les- Bianism
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