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The Theatre Directing Diploma Program by the New International Performing Arts Institute (NIPAI). by Inga Ryazanoff  •  last post Feb 27th

Where?
Offered online or blended with options for in-person sessions in Germany or Austria, enabling global access.

When?
The next intakes are in April 2024 and September 2024.

For Whom?
Ideal for individuals aiming to become professional directors, the program is open to students worldwide.

The New International Performing Arts Institute (NIPAI) is an educational institution focused on providing practical and hands-on training in various disciplines of the performing arts since 2000. It offers a diverse range of programs, including theatre directing, movement directing, and arts management.

These programs are designed to be accessible in multiple formats, catering to a wide array of learning preferences through both online and blended (a combination of online and in-person) educational modalities.

NIPAI is notable for its international scope, drawing a varied and multicultural student body from across the globe. This diversity enriches the learning environment and reflects the Institute's commitment to fostering global perspectives in the arts. The emphasis at NIPAI is heavily placed on practical, experiential learning and preparing students for real-world application in their artistic pursuits.

The program aims to foster artistic impact, community engagement, commercial success, and personal growth, offering pathways to careers in theatre production, puppetry, classical and contemporary theatre, opera, etc.

What Sets Our Programme Apart?
- Upon completion, receive a diploma that acknowledges your qualifications as a theatre director, paving the way to professional endeavors.
- Benefit from a blend of distance learning with in-class sessions in Germany or Austria, depending on your preference. A fully online learning option is also available, providing flexibility to accommodate your lifestyle and commitments.
- During in-class sessions, immerse yourself in a multicultural and international setting, collaborating with artists from across the globe. This exposure enriches your creative process and broadens your professional network.
- Our curriculum is built on practical learning. You'll engage in assignments that directly contribute to your growth, ensuring you acquire the skills necessary to succeed.
- The program concludes with you directing your own performance, showcasing your skills and vision in a real-world scenario. This final project is not only a test but a significant milestone in your career as a director.

Cody Ganger, a graduate of the distance learning course in theatre directing, shared her experience: https://youtu.be/9vIPjFbMnnQ?si=UswRMhECEmPDIe9t

For more detailed information about the program, please visit the NIPAI website at: https://www.nipai.org/theatre-directing-diploma

For more detailed information about the eligibility criteria, and admission process please visit the NIPAI website at: https://www.nipai.org/admission-process

Action & Physicality in Performance by Inga Ryazanoff  •  last post Feb 27th

▪️ How to develop character & work in an ensemble.
▪️ How to use your body as an expressive tool and develop your stage presence.

Dates:
Monday, 5.08.2024 -Thursday, 8.08.2024
10:30 am - 6:00 pm
Friday, 9.08.2024
10:30 am - 3:00 pm*

Venue:
Breite Str. 43, 13187 Berlin

Who is this program for?
The program is tailored for performance makers, directors, choreographers, and professionals working with stage performers. It's ideal for both seasoned professionals and newcomers to the field. Performers who are eager to create and direct are also encouraged to join. This in-class session demands dedication and discipline, and welcomes strong, committed professionals and pre-professionals who are ready to engage fully from start to finish.

What will you be able to learn?
How to develop awareness of your body and its connection to your voice, emotions, and character.
How to use your body as an expressive tool and develop your stage presence.
How to develop a character and work in an ensemble.

In the workshop program:
Five days of classes from 10:30 AM to 6:00 PM.
The opportunity to receive an international certificate upon completion of the program at NIPAI with Sergei Ostrenko.
Support, feedback, and advice from the mentor during the workshop.

The program will also introduce the Ostrenko Brothers' Method, a widely recognized approach to performance that generates innovative productions by utilizing concepts, ideas, and existing playtexts. This method offers the tools and support necessary for performers to reach their full potential.

The program's working language is English. It is a multidisciplinary, intensive lab that encourages collaboration among performers from various techniques and countries. By emphasizing multidisciplinarity and multiculturalism, it fosters a diverse learning environment.

This is a great opportunity for you to expand your knowledge, improve your skills, and connect with other like-minded individuals in the industry.

Tuition fee for the 5-day / 35-hour workshop and registration details can be found at https://www.physicalityinacting.com/berlin-august-2024 .

Email: info@nipai.org
Website: https://www.physicalityinacting.com/
DEVELOP IN WHAT YOU REALLY LIKE

SUMMER RESIDENCE: International Physical Theatre Lab & Conference at Laubegg Castle (Europe) by Inga Ryazanoff  •  last post Feb 27th

Dates:
July 13, 2024 - July 22, 2024

Location:
Laubegg Castle, AUSTRIA

Who Should Attend: Dancers, Choreographers, Dance Teachers, Actors, Directors of Physical, Drama, and Musical Theatre, Circus Directors, Acting Coaches, Circus Performers, Physical Theatre Artists and Drama Teachers.

This program features intensive physical theatre workshops, lectures, and forums with the renowned Ostrenko Brothers, alongside the IUGTE annual International Conference. It brings together performing arts academics and practitioners from around the world. To explore physical acting as your primary creative tool, fill out the application form.

OSTRENKO LAB PROGRAM
The Ostrenko brothers' approach integrates theory and practice to create innovative performances. It provides performers and directors with a comprehensive understanding of how to develop novel productions or adapt classical material. The method emphasizes hands-on guidance, blending traditional and modern techniques in the study of physical actions.

CONFERENCE PROGRAM
The conference includes practical workshops, presentations, lectures, and discussions led by performing arts professionals. It offers a full-day program with breaks for meals and between sessions. Registered participants will receive a detailed schedule. The conference's language is English.
For more information, visit: https://www.iugte.org/

SCHEDULE
- Arrival: July 13 from 13:00. First group meeting at 17:00.
- Departure: July 22 at 9:00.
- July 13: Group arrival and check-in from 13:00, followed by a short tour and an introductory meeting.
- July 14-17: Morning warm-up, practical training with the Ostrenko brothers, and evening activities including lectures and discussions.
- July 18: Morning to afternoon practical training, followed by the IUGTE Conference opening in the evening.
- July 19-21: Full-day conference program with practical workshops, presentations, and discussions.
- July 22: Breakfast followed by check-out and departure.

Learn more about the tuition fee for the 10-day program and early bird fees at https://www.physicalityinacting.com/austria-2024-july-conference

Contact Details:
Email: info@nipai.org
Website: https://www.physicalityinacting.com/
DEVELOP IN WHAT YOU REALLY LIKE

Physicality in acting by Inga Ryazanoff  •  last post Feb 27th

New International Performing Arts Institute

Dates:
17.05.2024: 10:00 AM - 1:00 PM
18.05-19.05.2024: 10:00 AM - 6:00 PM

The international program is designed for performers, directors, choreographers, and performing arts practitioners who are interested in the practical investigation of theatre biomechanics and physical theatre. Focus of the training: What makes performance interesting? How we can be more engaging on stage.

Venue:
DOCK 11: Kastanienallee 79, Berlin - Germany ​

Who is this program for?
This workshop is for all theatre makers and story tellers to come together from different backgrounds (dance, acting, directing, choreographing, circus, clown, mime etc), in order to learn new tools for their professional performance toolkit.

You will be able to find answers to these questions:
What to do when you have zero inspiration?
How to tell a story in a more interesting way?
How does a performer enter a stage?
How does a performer grab/take focus?
How does a performer warm up their body from head to toe?

Key Points Performers Will Learn During The Workshop:
Stillness, specificity, and awareness of the audience.
What is boring/interesting on stage.
How to take/give focus to fellow performers.

Teacher: Jeremy Vik is a multi-disciplinary performer with 20 years of professional performing experience in acting, circus, and physical theatre. Jeremy believes in blending skill, character, and story-telling together in order to engage, provoke, and entertain audiences all around the world.
Participant Requirements: A healthy physique, a creative mind, and a playful spirit :)
​
The working language is English.

Costs for participants:
Tuition Fee for 3 Days / 15 hours workshop see here: https://www.physicalityinacting.com/3-day-2024-berlin-may
To register, visit: https://www.physicalityinacting.com/regist-2-berlin-3-day-may

Contact details:
Email: info@nipai.org
Website: https://www.physicalityinacting.com/
DEVELOP IN WHAT YOU REALLY LIKE

Physical action in performance making by Inga Ryazanoff  •  last post Feb 27th

Join us in Berlin this April 2024 for a dynamic international workshop focused on Physical Action in Performance Making by New International Performing Arts Institute


Dates:
Monday 1.04.2024 - Thursday 4.04.2024
19:00-21:00

Venue:
DOCK 11 EDEN, Breite Str 43, 13187 Berlin (Pankow)

Who is this program for?
This workshop is ideal for directors in Physical, Drama, Musical Theatre, Choreography, and Circus, as well as actors and dancers seeking to enhance their directorial skills for contemporary professional productions. Designed for dedicated and disciplined professionals and pre-professionals, this program demands full participation.

Performers will explore:
Building images and characters through physical movement and interaction with space and partners.
Integrating isolated elements into cohesive performance fragments.
Developing actors’ creativity, improvisation, and spontaneity in rehearsal and training.
This intensive training, based on the Ostrenko Brothers Method, includes techniques from Meyerhold's "Biomechanics," M. Chekhov's "Psychological Gesture," and Stanislavsky's "Physical Action".

The working language is English.

For the tuition fee for this 4-day, 8-hour workshop, visit: https://www.physicalityinacting.com/3-day-germany-2024
Sign up at https://www.physicalityinacting.com/registration-3day-workshop-berlin

Contact Details:
Email: info@nipai.org
Website: https://www.physicalityinacting.com/
DEVELOP IN WHAT YOU REALLY LIKE

The Uncanny Valley: When AI Actors Take the Stage by Robert Kiesling  •  last post Feb 26th

Have you ever watched a movie and felt something was slightly off, but you couldn't quite put your finger on it? Could the day come when the line between human and digital actors blurs so much that we start questioning the authenticity of every performance?

In the rapidly evolving landscape of filmmaking, AI's integration has been nothing short of revolutionary. But as we march towards a future where artificial intelligence plays a central role in the creative process, a dystopian shadow looms large over the industry. The concept of AI actors is no longer confined to the realms of science fiction; it's a burgeoning reality that's both fascinating and, frankly, a little unsettling.

Imagine settling into your seat at a premiere, the lights dim, and the movie begins. On the surface, the performance is flawless, but there's an underlying coldness to it. The actor on screen, created entirely by sophisticated algorithms, delivers lines with precision but lacks the subtle imperfections that make human performances so relatable. This is the uncanny valley – a realm where the almost-human becomes eerily alien.

The rise of digital performers presents a paradox. On one hand, it's a testament to human ingenuity, a breakthrough that could revolutionize storytelling by transcending the limitations of physical existence. Characters can now be ageless, boundless, and capable of performing feats far beyond human capacity. But on the other hand, it raises profound ethical questions. What happens to the art of acting when the actor becomes an algorithm? Does the essence of performance – the raw, unfiltered expression of human emotion – get lost in translation?

As AI continues to infiltrate the director's toolkit, the implications extend beyond the screen. The technology that enables a director to manipulate a digital actor's performance with a few clicks could also lead to a homogenization of storytelling. When machines start dictating the nuances of a performance, do we risk creating a monotonous cinematic world devoid of the idiosyncrasies that make each actor unique?

The prospect of AI actors is a double-edged sword. It offers a glimpse into a future where storytelling is unbound by the physical, yet it also poses a stark reminder of what might be lost in pursuit of technological advancement. As we stand on the brink of this new era, one question remains: Will we embrace the allure of digital perfection, or will we cling to the flawed, unpredictable beauty of human performance?

What do you think? Are AI actors an exciting innovation, or do they herald a dystopian future for cinema where the soul of the performance is sacrificed at the altar of technological progress?

Problem by Jed Power  •  last post Feb 25th

How come I can't share my  script listing to FB? Says App not working. HOW long will this be?  

Coffee & Content: Do These Stars Remember Their First Audition? by Maurice Vaughan  •  last post Feb 25th

Stage 32’s founder and CEO, Richard “RB” Botto, shares two videos in today’s blog.


In the first video, some of today’s most well-known and critically-acclaimed stars answer viewers’ burning questions.

In the second video, you’ll get an in-depth look into what it takes to be a showrunner through the eyes of John Hoffman, the man behind the hit Mystery series, “Only Murders in the Building” on Hulu. He also gives a great look at being a showrunner and guidance on being a Comedy writer.

Grab your coffee/tea/hot chocolate/etc. and jump in!

www.stage32.com/blog/coffee-content-do-these-stars-remember-their-first-audition-3652

Oscar winning actor & writer Tom Hanks gives the Oxford Union an acting lesson - OxfordUnion by Florin Şumălan  •  last post Feb 24th

https://youtu.be/gWnMgMEVABM

Tom Cruise & Alejandro Inarritu Team Up by Nick Phillips  •  last post Feb 23rd

I'm really glad to see this.  Tom Cruise has been playing it too safe for years now, working only in action franchises and only with directors he could exert some measure of control over.  Now it looks like he's headed back into working with auteur filmmakers again.  Within the first 10 years of his career, he worked with Coppola, Scorcese, Barry Levinson, Ridley Scott, Tony Scott, Curtis Hanson, Oliver Stone and Ron Howard, among others.  He needed to challenge himself again and re-elevate his game.  There aren't many movie stars left of his caliber.


https://screenrant.com/tom-cruise-alejandro-inarritu-movie-oscar-nomination-win/

Looking for agent - commercial/VO/film/TV by Lee Kim  •  last post Feb 23rd

I was represented by a very large agency in NYC doing commercials but they recently shut down their commercial division. I am in interested in pursuing any freelance opportunities with agencies in the NY/NJ area. I'm interested in commercial, VO, film/TV work. I've done some films and VO work over the years. By way of background, I'm a cybersecurity and AI expert with a significant media portfolio (including podcasts, TV, radio, etc.) and public speaking experience (domestically and internationally). I combine my expertise in tech and law (as I am an attorney). I believe that my experience would give me a unique perspective in a commercial/VO/or acting (film/TV) role). However, my interests in acting are much broader than simply the tech and legal sphere. I have a lot of creative pursuits, such as in photography and poetry. But I do think that I have some things that I can potentially capitalize on. Thank you for any ideas. Lee

The Top 5 Things Casting Directors Look for in a Self-Tape by Tammy Hunt  •  last post Feb 22nd



1. Performance. When you’re self-submitting, casting folks have high expectations. Even though you may have just received the copy, we assume that you’ve had time to work on the material and can bring your A-game. 

2. Personality. Since casting is asking for your self-submission in lieu of an in-person audition, we miss out on getting the chance to meet you. If possible, we’d like to get to know you a little through your self-tape. One way to do this is to use your slate as a chance to show some of your personality as well as your professionalism. 

3. Technical Quality. Ultimately, we need to see and hear you. If we can’t, this could immediately take you out of the mix. It may sound obvious, but you’d be surprised how many times talent will submit clips that are lacking in one of those departments. And if they are, even if we love their performance, we won’t be able to send them through to the client to consider due to poor recording quality. Your best bet is to solve all of these technical issues ahead of time. Find a space in your home that you can designate as your self-tape spot. Set up a camera, lights, background, etc. and have it ready to go. 

4. Following Instructions. Make sure you read and follow the format and size specs for the clip. Also adhere to any slate, wardrobe, and direction that is given in the breakdown. Casting directors share these helpful instructions, which are usually passed along from the client, because they’re expecting to see them in the recordings. 

5. Fitting the Role. Make sure you’re appropriate for the role before going through the trouble of self-submitting. If you’ve specifically been asked to self-tape then by all means send something over, but if it’s a general call, save yourself the time and effort if you don’t fit the breakdown. Time is limited and valuable for everyone, so focus your efforts on submitting for roles best suited for you! 

- Melanie Forchetti, Casting Director for Netflix, Amazon, CNN, Oxygen, among others. 

#casting #selftape #audition #actor #script #sides #hollywood #slate

Congrats Jacqueline Elyse Rosenthal, winner of the Empowering Women Screenplay competition! by Elaine Chang  •  last post Feb 21st

BACKLOG sounds like an amazing project on a crucially important subject, the staggering number of completed rape test kits that have gone untested. Time's still NOT up for all these survivors. Well done and all the best with your screenplay, Elyse!

(FWIW, as a semi-finalist, I feel honored just being sort of in your company. :)) 

Congratulations!

Elaine

Acting and Story Telling by Katherine Lansing Davis  •  last post Feb 21st

I'd love to connect with actor or anyone who loves to tell stories. I'm older but weird and funny and I'll do anything Plus after four years in a Mythology program at Pacifica Grad Institute (home of Joseph Campbell's library) I have a pretty good understanding of the story. I didn't write screenplays, but I have some crazy stories I wove into papers and poetry. I'm in LA near K--Town.

I Never Left by Barry Culver  •  last post Feb 20th

I spent a lot of time away from social media. I got some headshots done in the meantime and I’m ready to be back. I’ve been getting better with my voice acting and acting chops over the past 10 months since my last post. I’m eager to see what I can engage with on the acting scene. How has everyone else been transitioning into the new year?

Getting new mic today by Justin Groats  •  last post Feb 20th

Getting new Microphone today, RODE NTI XLR Microphone. Hopefully this will help my Voice Over career better. I already have a Well Treated Environment, I should have gone with a Condenser Microphone from the Start

Do Actors Need Managers by Aaron Marcus  •  last post Feb 20th

Do Actors Need Managers
https://youtu.be/PIT37vygH_Y

If you have a manager let us know how the manager has helped your career.
Leave a comment.

Actors Keep Up The Good Work! by Tammy Hunt  •  last post Feb 19th



Keep submitting yourself. When you have an agent, it’s easy to let this part fall to the wayside. But to keep your audition numbers up, you want to make sure you’re an active participant.

Keep searching through Actors Access, Backstage, and other casting platforms.
If you do voiceover work or audiobook narration, look for platforms where you can put up your profile and demo tracks. Remember, your agent has many actors on the roster, and no one knows your work better than you. You might find a gig that would otherwise be missed or passed over.

Communicate with your talent representatives.
Even though you’re submitting for and possibly booking projects on your own, remember that you and your agent are always a team. Be open and communicative about the projects you might be booking. Have your agent look over any contracts before you sign them.
For one thing, they may be able to help you negotiate better terms.
For another, you don’t want to lock yourself into a project that pays pennies without letting your agent know, only to have them submit you for better-paying work that conflicts. Make sure you’re both on the same page about when and where you’re submitting.

Remember to factor in fees.
When looking at rates for projects you’re submitting to, remember to mentally factor in rep splits and other expenses when you’re determining whether something is worth it.
Sometimes these can be negotiated, but it’s important to keep in mind. If you’re auditioning for an audiobook, unless you have a home studio, remember you’ll have to factor in studio rates, and possibly hire an editor.
Don’t say yes to something without considering what it might cost you.

#actor #audition #agent #manager #selftape

Shashi Kumar Ravan (hacker) Height, Weight, Wiki, Age, Wife, Family, Girlfriend, Biography & More by Smart Ranjeet Kumar  •  last post Feb 17th



Bio
Real Name - Shashi Kumar 

Nickname - Shashi Kumar Ravan 

Profession(s) - Actor, Hackers, Interest Celebrity 

Physical Stats & More
Height (Approx) in centimeters- 163cm

in meters- 163m

in Feet Inches- 5’4

Weight (Approx.) in kilograms- 50kg

Eye Colour- Dark Brown

Hair Colour- Black

Personal Life
Date of Birth 11 May 2002

Age (as of 2024) 21Years

Birthplace Nowhatta, Bihar

Hometown- Nowhatta, 

School - Pandit Jawahar Lal Nehru 

Religion Buddh

Caste- Chamar, Buddh, Jatav

Address Nowhatta 

Family Name
Father Name Vinod Ram

Mother Name Devanti devi

Brother Name Ravi Kant 



Shashi Kumar (born 11 May 2002) is a famous white hacker, hero and internet celebrity. He was born in Nowhatta Rohtas Bihar, India. His father's name was Vinod Ram who was a farmer. His mother's name Devanti Devi is a housewife. Shashi has been interested in technology, mobile and computers since childhood. Apart from this, he is also very interested, he has passed 10th from High School Nowhatta and 12th from Jawahar Lal Nehru and he has taken admission in BA (2019 to 2022)! Who is currently doing ITI from Haryana Delhi


Dealing With Audition Rejection by Tammy Hunt  •  last post Feb 16th


In the world of auditioning, no news is often the only news:
If you don’t hear back, it means they went with someone else. While it would be great to receive closure via direct rejection, casting directors don't have the bandwidth to notify every auditioner or representative who didn’t get a callback or book the part.
They are also not in a position to disclose why a role went to one performer over another.
“Casting has huge amounts of work and time is tight,” casting director Louise Collins says. “So please don’t be disheartened if you don’t receive feedback.” The best way to cope with rejection is to try to reframe the feeling of rejection and the act of auditioning itself. Rejection is unavoidable, and it will most likely be frequent. With this in mind, consider setting a rejection quota for yourself.
Acting coach and Evolving Artist creator Teri Wade’s quota method flips the script, turning rejection from a fear into a goal. “I suggest giving yourself a numerical quota, such as getting rejected 30 times per month, or 10 times per week, and recording your points,” she says. “When the goal becomes meeting your quota, you stay motivated and you keep going.”
Also, remember that by getting through the door and in front of the casting directors, you have already been given the chance to perform. Make the most of it. “Treat an audition as a chance to practice and gain a new experience,” actor Joanna Pickering says.
Think of Cassie’s iconic “The Music and the Mirror” moment in “A Chorus Line.” She starts off by pleading to director-choreographer Zach for the chance to dance, but soon enough she’s not asking for permission to perform; she’s giving him an unforgettable, powerhouse demonstration of her technique. It’s her audition, but it’s still very much a performance.
These steps help actors achieve a state that actor Douglas Taurel refers to as thinking extraordinarily, or “the ability to experience failure and have the discipline to ignore it, move on, and immediately focus on the next audition or performance.” 

#audition #actor