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Workshops and Master Classes

Presented in Vienna, Berlin and Hamburg

Auditions and Acting While Singing

The body is not emotion, singing or characterization. It is the vehicle and must balance these sometimes conflicting demands for effective performance. This balance is very different when acting while singing than speech-based acting.

How do you balance the demands and limitations of the body in characterization, emotion and singing?

When you merely show the outer physical characteristics of emotion while singing, the audience is not moved. But if you fully experience the emotion your ability to sing well will be endangered and the audience will stop seeing you as a character and could become concerned about your well-being as a performer.

So how do you translate what the director is asking into your own body? What is the thought layer that creates the physical expression? How do you recreate these strong emotions without impairing your ability to sing?

Nerves can throw us around the stage physically, and the act of singing can slow down gestures so they look as if you are swimming. Are your gestures true, clear, believable and strong?

If you think of yourself as “flesh” you must control everything and it will look false. If you think of yourself as “idea” then your body responds to your thoughts and impulses in a more natural way and you will look more natural and true onstage.

Auditioning with Results

Sharpening the performers’ focus for audition, reviewing the appropriateness of repertoire, paperwork and photos, how to manage audition-nerves, how to communicate with the pianist and the decision-makers, and individual work on getting the most out of the song being presented.

The Mind – Friend or Foe?

What is your attitude towards your own mind? It is a powerful tool or a terrible knife depending on how you use it. We often stand directly in our own way, and are our own harshest critics. Learn to understand and balance the inner Judge and the Doer/Feeler, and how to turn down the volume on the negative chatter so you can experience and trust your own creative instincts and be a stronger, more centered and dynamic presence on stage.

Workshop on Projecting Rage and Anger

A performer must project strong emotions through their body and voice, while keeping these emotions from ripping the voice apart. Breath is the connection to energy and power, but strong emotions can block breath. This workshop introduces breathing techniques which join breath and energy together, and locates the source of the emotions and how to control their flow.

Awareness, Focus and Being in the Moment

Our attention leaps between the past and the future, but we find it hard to stay in the present. Learn the relationship of breath to maintaining awareness of being where you are when you are there. This workshop explores soft, direct, and inner focus and how to use them on stage, and introduces simple, direct exercises and techniques for developing the expanded, lateral awareness needed in performance.

Archetypes and their Energy Source

Acting is a process of pulling stored emotional memories from our minds and bodies. Energy is one of a performer’s most valuable tools. Yet how many performers truly understand their own energy flow? Through exploring the relationship between Jungian archetypes and the energy centers (chakras) in the body, a performer can learn how to draw on both archetype and energy, and how to balance these energies in performance.


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