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Carla Kim 917 257 9359 Height: 5’3’’ Carlahkkim@Gmail.Com / Hair: Black / Eyes: Dark Brown

Carla Kim 917 257 9359 Height: 5’3’’ [email protected] / www.carlakim.com Hair: Black / Eyes: Dark Brown Theater: Blue Surge Beth Vancouver Film School Allison James Beyond Therapy Prudence Marilyn Monroe Theatre Kymberly Harris Three Years from Thirty Jessica James Dean Theatre Anne DeSalvo The Seagull Nina Actors Studio Drama School Elizabeth Kemp The Donahue Sisters Rosie Actors Studio Drama School Sarah Brausch Brilliant Traces Rosannah Actors Studio Drama School Susan Aston An Enemy of the People Aslaksen Actors Studio Drama School Susan Aston Uh-Oh Sarah Actors Studio Drama School Jacqueline Knapp Extinct Kyoko Actors Studio Drama School Sarah Brausch Morning Coffee Katie ASDS at 3LD Art & Technology Center Sarah Brausch Film: Shining Beauty Lead Short film Jung Ah Kim Mirror Supporting Short film Jung Ah Kim May Day Supporting Short film Gun Heo Post Office in Autumn Featured YES Entertainment Wang Tae Lim Education/ Training: Actors Studio Drama School, Pace University MFA, Acting NYC Acting: Elizabeth Kemp, Susan Aston, Jacqueline Knapp Voice: Robert Serrell, Corinna May Movement: Michael Billingsley, Kate Billingsley Lee Strasberg Theater & Film Institute Classics: Chris Clavelli Los Angeles Method Acting : Kymberly Harris Voice/Movement : Andrea Fuller, Leah Zhang Voice Over : Todd Bjurdstrom Vancouver Film School Vancouver, Canada Intro to Improv : David C. Jones Acting for Camera: Duncan MacLellan Audition Technique: Rondel Reynoldson Text Analysis: David C. Jones Special Skills: Languages: English(fluent), Korean(fluent), Spanish(intermediate), Intermediate piano, Voice over, Tae Kwon Do, Yoga, Pilates, Swimming, Teaching, Professional French Cooking, News casting, Driver’s license, South Korean passport .

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A Transcultural Perspective on the Casting of the Rose Tattoo
RSA JOU R N A L 25/2014 GIULIANA MUS C IO A Transcultural Perspective on the Casting of The Rose Tattoo A transcultural perspective on the film The Rose Tattoo (Daniel Mann, 1955), written by Tennessee Williams, is motivated by its setting in an Italian-American community (specifically Sicilian) in Louisiana, and by its cast, which includes relevant Italian participation. A re-examination of its production and textuality illuminates not only Williams’ work but also the cultural interactions between Italy and the U.S. On the background, the popularity and critical appreciation of neorealist cinema.1 The production of the film The Rose Tattoo has a complicated history, which is worth recalling, in order to capture its peculiar transcultural implications in Williams’ own work, moving from some biographical elements. In the late 1940s Tennessee Williams was often traveling in Italy, and visited Sicily, invited by Luchino Visconti (who had directed The Glass Managerie in Rome, in 1946) for the shooting of La terra trema (1948), where he went with his partner Frank Merlo, an occasional actor of Sicilian origins (Williams, Notebooks 472). Thus his Italian experiences involved both his professional life, putting him in touch with the lively world of Italian postwar theater and film, and his affections, with new encounters and new friends. In the early 1950s Williams wrote The Rose Tattoo as a play for Anna Magnani, protagonist of the neorealist masterpiece Rome Open City (Roberto Rossellini, 1945). However, the Italian actress was not yet comfortable with acting in English and therefore the American stage version (1951) starred Maureen Stapleton instead and Method actor Eli Wallach.
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La Méthode De L'actors Studio, À Paraître
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SHAYLA ALAMINO Phone: 407.922.0893 Email: [email protected]
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