Lolita's Sense Memory

"There are two kinds of visual memory: one when you skillfully recreate an image in the laboratory of your mind, with your eyes open (and than I see Annabel in such general terms as "honey-colored skin", "thin arms", "brown bobbed hair", "long lashes", "big bright mouth"); and the other when you instantly evoke, with shut eyes, on the dark innerside of your eyelids, the objective, absolutely optical replica of a beloved face, a little ghost in natural colors (and this is how I see Lolita)."

This later one is a good description of a sense memory! And the distinction between one and another is quite method like... Isn't it?

RIP Philip Lee Duncan... May heaven receive you with a sweet whistle in technicolor, my friend!

No verão de 2010 em Nova York, a Juliane Elting (atriz alemã, mas que eu conheço do Teatro Oficina no Brasil), aterrissou em Manhattan pra fazer um curta com o Philip Lee Duncan... um diretor americano, mas com ares alemães... Ela me indicou pro teste pro coro do curta (era um musical com gente cantando no banho!), e lá fui eu... Eu tava numa época musical mesmo... me preparando pra um cabaret musical com canções dos Rodgers & Hart... Com a fé e a coragem tirei minha roupa e cantei "Cry me a river" na salinha de um apartamento em pleno Chinatown (afinal de contas, o teste era pra cantar no banho!) E o Philip gostou tanto do meu teste que resolveu me dar um papel além do coro... perguntou se eu tinha algum monólogo pra fazer ali na hora e eu que sempre tenho minha gaivota no bolso, sentei no sofá com o monólogo da Nina.... (aquele que ela diz que nisso que a gente faz, não importa nem a glória, nem o sucesso, mas a sim a força de continuar caminhando...) E isso virou cena... uma atriz fazendo um teste pra um diretor e ex amante (no caso o próprio Philip!) que destrói qualquer ilusão da garota "Você devia tentar ser garçonete... por que gaivota você não é!"
Foi uma das experiências mais bacanas de New York... E me deu a felicidade de me ver no cinema num festival em Berlin! E também um querido amigo de presente... o Philip, que graças ao Facebook, permanecemos em contato... e o Philip era exatamente que nem os filmes dele.... doce, inteligente e estranho... Ele era desse tipo de gente sem frescura (uma vez encontrei com ele descansando sentado no chão do Moma!) e esse tipo de artista que lembra a gente que pra fazer cinema as vezes basta plantar algo simples e verdadeiro num grupo de gente disposta e apaixonada e fazer... Se faz arte fazendo... e uma vez feito, está lá... para a eternidade... Que bom... porque hoje eu recebi pelo facebook a triste notícia que o Philip morreu... Mas pelo menos eu tenho o curta dele "As a whistle" pra me lembrar como um assobio que a vida apesar de estranha é doce, e que além de melancólica, é bela...


Aqui o link para "As a whistle" no youtube: http://www.youtube.com/watch?v=lemygcF7-80


E espero ver o longa dele "Love songs for scumbags" que ficou pronto recentemente...

"É crer pra ver!"

(Sérgio Penna evocando Asdrubal trouxe o trombone)

Os grandes atores outram nas personagens que interpretam

Eu outro
Tu outras
Ele outra
Nós outramos
Vós outrais
Eles outram

(Sérgio Penna, evocando Fernando Pessoa durante o workshop...)

Meu fim de semana com Sérgio Penna

No meu caminho, tanto como atriz, como diretora e também como espectadora de cinema e teatro, cada vez vai ficando mais claro que o que a platéia presencia no palco ou na tela é uma amálgama entre o trabalho (e por trabalho entenda-se a arte, o talento, os insights e o suor!) do autor (ou no caso do cinema o roteirista), do diretor e do ator. No cinema é cada vez mais comum que mais um componente entre nesse jogo: o preparador de atores.
Nesse fim de semana que passou eu tive a benção de participar de um workshop com um dos grandes preparadores do Brasil: Sérgio Penna! Sérgio preparou o elenco de filmes como: Bicho de sete cabeças, Carandiru, Não por acaso, Contra todos, Bruna Surfistinha…. O que une todos esses filmes é justamente a interpretação sincera dos atores, o que sempre contribui para que as histórias sejam contadas a partir do humano, demasiado humano… Essa verdade no trabalho do Penna sempre me interessou… e eu gosto de compreender a maneira que as pessoas que eu admiro trabalham, e por isso, lá fui eu louca, recém chegada de Berlim para uma maratona de workshops… Primeiro com Madame Mnoushkine e depois com Penna… Valeu a pena (!) Saí dessa semana com novas ferramentas para contar e viver histórias com verdade!
Na seguidinha de workshops, e vindo do processo de “Fracture” em Berlim, completamente baseado em tudo o que eu aprendi no Strasberg, eu fiquei com a sensação de que as bases do trabalho são as mesmas… A entrega, a presença, o jogo, a verdade… os nomes, os métodos podem variar, mas a busca, e até mesmo as ferramentas são as mesmas… Logo de cara percebi uma semelhança entre Penna e Mnoushkine: o respeito ao sagrado da cena. Ariane não deixa ninguém pisar no palco sem ser para entrar em cena, ela diz que o espaço delimitado como palco é a cena, tudo deve mudar quando você entra ali, ali é teatro, ali é o fogo e deve ser tratado como tal… Penna, como trabalha com cinema, delimita esse sagrado de outra maneira, mas também o delimita, e a gente pode perceber isso tanto nos exercícios que ele faz com a gente, quanto nos depoimentos dos atores com quem ele trabalhou, mas mais que nada nos vídeos mostrando o trabalho em si… delimita colocando o ator num outro estado, no estado do personagem… Vendo o vídeo do Caio Blat se preparando para entrar em cena em “Bróder”, esse sagrado fica muito claro… Caio está colado em Macu, Macu está colado em Caio e aquilo é sagrado, é fogo, é cinema e inspira tanto respeito quanto o palco de Ariane! Tanto respeito que a equipe fica em silêncio ao redor de Caio/Macu e resultado disso é Macu vivendo na tela. O silêncio da equipe me remete a outro ponto do trabalho de Sérgio Penna que muito me interessa: o trabalho coletivo. E isso ele traz da sua bagagem de teatro. Ele defende que essa maneira coletiva de trabalhar cabe no cinema e que vale tomar esse tempo de criação e preparação, e que todo esse trabalho imprime na tela. O trabalho coletivo nos exercícios do que ele chama de “tempo e espaço real”, exercícios que não são improvisações, são jazz! E jazz que ele só coloca os atores para criar quando eles já estão imbuídos (cheios, impregnados, penetrados!) de seus personagens! Esses exercícios me lembraram muito os “estudos” que a gente fazia lá no Strasberg… os “études” de Stanislavski… (mais um indício, que estamos todos buscando o mesmo: a verdade em cena!) E a verdade, tal qual a matéria prima do ator, é fugídia… E Penna sabe disso, e no seu trabalho muito tempo e energia é dedicado ao trabalho braçal, de pesquisa, de trabalho de campo, de criação de memória… criando assim a base, a partitura pra o ator colocar a sua intuição a serviço do personagem…
A memória, elemento chave de todo o trabalho do Strasberg e também de Stanislavski, é trabalhada também por Penna de uma outra maneira… através desses exercícios de tempo e espaço real, ele faz com que os atores se disponibilizem a realidade dos personagens, e portanto tudo o que neles acontece passa a ser também memória, que fica tatuada na alma do ator e vira propriedade sobre o personagem em cena e transparece em vida real na tela.
O trabalho dele vai em direção ao essencial, sem firulas, em direção a presença e a disponibilidade do ator, pra que a alma seja revelada a camera…
Pôxa… eu poderia escrever laudas e laudas sobre o tanto que aprendi nesse fim de semana com Sérgio Penna (foram 37 páginas do meu caderninho!) mas me detenho no haikai que escrevi num exercício que ele nos propôs:

Posso falar mais
Quero falar menos
Só a essência é essencial


***

Two for the Road

"She was so honest and present that you had no choice but to find that level of honesty in yourself."

( says Dougray Scott, who stars as Arthur Miller, talking about Michelle Williams playing Marilyn Monroe. In october's VOGUE)

É que a atuação que se vê no palco ou na tela, independente da idade do ator, é sempre uma amálgama entre ator, texto e diretor...

Hoje eu vi "Lulu" direção do Robert Wilson e música do Lou Reed...

Imagens impressionantes, referências visuais incríveis que entram para o meu repertório... algumas músicas bacanas... maquiagem bem interessante.... E é tudo o que eu tenho a dizer...

(Na verdade, o que eu tenho a dizer é que eu insisto em acreditar que teatro é arte do ator.... que acho uma pena jogar fora justamente a especificidade do teatro, que é o aqui e o agora, a comunhão desse momento que nunca mais vai se repetir entre os atores e a platéia.... A possibilidade desse fragmento de vida viva vivida ali bem diante dos meus olhos e do meu sistema nervoso a ponto de arrepiar a minha alma... Acho engraçado que no tocante aos atores parece que ficou o contrário... o cinema virou território de vida e o teatro de imagens e conceitos... Acho mais é que as barreiras tem mais é que se misturar, mas acho graça (e acho que se perde muito) nessa inversão... Uma vez li que era uma pena que o cinema seguiu os passos de Griffith ao invés dos do Melies... O cinema tem todas as condições para ser uma loucura visual e o teatro para ser uma comunhão, uma experiência que nos marca tanto quanto a própria vida... E experiência humana demasiado humana quem carrega é justamente aquele ser humano ali no palco: o ator... não a luz, os painéis, os movimentos coreografados esvaziados de experiência viva... Acho que quanto mais o teatro abandona o ator, mais deixa de ser o que de fato é!)

O ator é, antes de tudo, um equilibrista.

The actor is, before anything else, an equilibrist!

(oh well... and if you wanna be absolutely concrete... the actor is, more than anything else, a multitasker!)

É mais fácil ser parte que cabeça do todo...

A coisa da direção é que você é o capitão... Não tem volta atrás e não dá pra ser de todo transparente, porque se eu me desespero... Eu desespero toda uma tripulação... E tripulação desesperada se joga no mar...
Mas tudo certo como dois e dois são cinco! Poker face é meu trunfo!

(Para isso conto com desabafos virtuais... Essa semana a minha terapia já está marcada por Skype!)

"Life comes first. What I see in the characters, I first try to see in life."

(Daniel Day-Lewis)

Para o bom entendedor, o subtexto basta!

"15. William Faulkner (A Cidade) sobre Ernest Hemingway (Por Quem os Sinos Dobram)
“Ele nunca sequer pensou em usar uma palavra que pudesse mandar o leitor para um dicionário.”

14. Ernest Hemingway sobre William Faulkner
“Pobre Faulkner. Ele realmente pensa que grandes emoções vem de grandes palavras?”

!!!

That's why I do Theatre!

"That's why I do Theatre, because if you play the truth and you're present, and you don't want to be liked... she must have felt that audience hating her performance, but she told the Truth. And he said to me 'you know, she told me the truth, but I hadn't grown enough to know it'. Now, that's why I do theatre!"

http://www.ted.com/talks/patsy_rodenburg_why_i_do_theater.html#.Tjk5eeLhbeE.facebook

PLEASE! WATCH THIS VIDEO!

"Foi como se eu estivesse vivendo o filme, não vendo, entende?"

Foi isso que a Helenita disse sobre o meu curta "My favourite things". Melhor elogio pra mim não há!
É nisso que eu acredito e é esse o meu grande objetivo, que eu busco construir em cada coisa que eu faço!

Como diretora é esse o universo que eu quero criar, um universo a ser compartilhado como fragmento de vida com a platéia e como atriz é isso que eu quero oferecer, o meu viver ali, momento a momento no palco noite após noite ou diante da câmera para que fique registrado pra sempre um momento sincero.... E não é fácil! Exige cuidado com os detalhes, preparação e principalmente disposição para compartilhar a alma! E as vezes a gente atinge e as vezes não... mas é sempre esse o meu norte, e quando eu experimento um momento de vida cênica, a minha vida faz mais sentido!

Sobre "Trilhas de amor perdidas" e a diferença entre atores que vivem e atores que telegrafam no palco.

Acabei de ver "Trilhas de Amor Perdidas" da Sutil Companhia. O Guilherme Weber é um arraso e tem momentos de sincera vida no palco. O texto é incrível, com muitas pérolas como por exemplo "A gentileza é mais forte que a crueldade" e como o texto dele sobre o espaço de amigo ou espaço de namorado na vida dela... Mas uma vez mais saio de uma peça brasileira com a sensação de que temos encenadores incríveis (Felipe Hirsch é sem dúvida um maestro, vide Pterodátilos!), mas que não há direção de atores...
Tenho a sensação de que no Brasil acredita-se que ao diretor cabe a mise-en-scene e que o ator sabe simplesmente fazer seu trabalho. Claro que os diretores os dirigem como parte do todo, mas não individualmente nos seus processos de descobrir a verdade daquele universo momento após momento no intuito de gerar uma partitura experiencial a ser executada a cada apresentação.
O próprio programa da mostra confirma a minha sensação. Lá está escrito "Alguns criadores contemporâneos são também magos combinando elementos instáveis das artes (dramaturgia, trilha sonora, cenografia, projeções, instalações multímidia, entre outros) para uma transmutação." Como se esse processo experiencial e emocional dos atores não pertencesse a alçada do diretor.
Saí da peça pensando que ela seria poderosíssima se a atriz que faz a Soninho vivesse no palco ao invés de telegrafar a sua personagem para o público. Me explico. Vendo outras peças cheguei a conclusão de que o que impera hoje em dia é o que eu chamo de "atuação power point", é como se os atores fizessem um esquema contando a compreensão que eles tem da peça para o público. Então, eu como platéia, entendo sobre o que a peça trata, a visão intelectual do diretor e do ator sobre tudo aquilo, e me relaciono também intelectualmente com a essência da peça. Em compensação, quando um ator VIVE um momento no palco, eu como platéia também o vivo e SINTO a essência da peça. E Guilherme Weber vive em cena, mas sua companheira Natália Lage não; o que me breca de realmente acreditar no que está acontecendo no palco. E na minha opinião, se ela vivesse em cena, essa peça seria incêndio puro! Seria poderosíssima e tocaria a alma da platéia de forma profunda! Alguns raros atores tem um talento tão a flor da pele que dão conta sozinhos da intensidade, da profundidade e da verdade dos seus personagens... Mas esses são raros... Eu acredito que essa partitura da verdade cênica tem que ser criada em parceria entre o diretor e os atores... Para que no teatro então, cada apresentação seja ume experiência de um fragmento de vida compartilhado entre os atores e a platéia!

http://www.vimeo.com/estrelastraus

No, woman, don't (fake) cry!

Actors should understand that fake crying is absolutely contra productive! Trust your instincts if you've done the work and you're relaxed whatever must be there will be there, even more if you don't try to push it! If the scene is good and you're tuned with it, emotions will flow in you, and consequently will touch the audience! But if you fake crying, you're actually blocking this process, and giving a cliche expression of human behavior, that might even convey what you think the scene should be like, but believe me, it won't have the power of a true emotion.... As my grandma once told me "Many times in life we cry without shedding not even a tear."

From the series My NYC treasures!

Ori Golad was first a fellow actor in a series of one act plays by Pirandello directed by Michael Luggio ( he was the lead of "The license" and I from "Bellavitta), than we found out we were neighbors in Chinatown and after rehearsals we would walk home having inflamed discussions about theatre, method acting and misticism. (Actually Method acting till this day might be our favorite subject of discussion, if you just mention something related to Stanislavski or Strasberg in front of us, we'll spend hours discussing it, and from the outside it may look like we are fighting, but no... we are just two passionated actors who loooove to talk about our dreams of passion, and in the essence we agree about almost everything, it's just the words we choose to explain the same that cause the arguing!) After Chinatown, we became roommates in the East Village... together with the actress Isadora Vasconcellos, in the same building of another fellow actor Gonzalo Marroquin. Our apartment became an actor's Headquarter! Long nights with friends discussing theatre and art... We would tell each other about auditions, give opinions on each other's work, prepare to auditions together, rehearse lines, and of course celebrate each other's landed jobs! When Ori got the lead of an Independent Feature film, wow! I think Isadora and me made more noise about it than himself! And well... at this point you can take for granted that we became great friends! And what do you do if you have a great friend who's a fellow artist and live with you? You create together!!! We first did a short film "Let them eat cake" that Ori wrote the script, I directed, and Isadora, Gonzalo, Ada Simona and Giselle Brasseur acted on it. We shot it in our apartment and it's a little tale about being alone in a crowd of friends.... (inevitable feeling in NYC!) We had an idea to shoot a webseries in our apartment, since we lived a whole range of stories inside that place, and Ori started to write Apartment 107, a funny and wild webseries... Our schedules didn't allow us to to shoot it before I left New York... but oh well... we might find a time in the near future.... and I'm sure we'll keep on creating together, for the time being we keep on discussing life and art on Skype... And we already have a goal, no matter what and no matter where, when we are on our 50's we'll be Martha and George of "Who's afraid of Virginia Woolf?"

Meu reel

Pra quem sabe olhar, há beleza em tudo.

Frio na barriga, pífias horas de sono, a dream of passion, fé cega, faca amolada, amém!!!

Making a reel... or stealing from the ones I love... or declaring my love to New York...

Criando universos e atmosferas...

O legal de fazer cinema, de dirigir cinema, é que você pode criar todo o universo e também toda atmosfera ao redor da cena, ajudando e muito o ator se colocar sob aquelas circunstâncias... com a locação, com o figurino, com os detalhes, até com a hora em que você decide filmar, com silêncios e atmosferas que se estabelecem no set.... A verdade é que com o cinema, é muito maior o controle sobre o todo e os detalhes do todo que no teatro...

"The art of the superior artist is to restore by means of conscious operation the integrity of sensuality and the emotional power of things."

Paul Valery
in A constant Forge
The Life and Art of John Cassavetes

Does it ring a bell???

I remember that in Argentina, at FUC... I think that to the Film history class, I had to do an essay and I thought about writing something relating Cassavetes to the Actors Studio... back than it was more out of intuition.... Now after two years of studying the Method and getting more in touch with Cassavetes work I still wanna do it.... Maybe if I do a Master or something like that, that could be my thesis... Or I may do it simply for the love of it, isn't that one of the great things that Cassavetes inspire us to do? Do things simply for the love of it? I have to dig deeper, but this seek of truth- personal truth- combined with improvisation is sure a seed to compare Cassavetes to Strasberg... This same phrase that is the title of this post could be used to describe sense memory... Don't forget.... Sensual come from the senses!

John Cassavetes!!! A light to follow!

"What happens to artists is that... mmm.. It's not that somebody's standing in their way. It's that their own selves are standing in their ways. And the whole idea, to me, and to people that work with, is to find some kind of personal truth, some kind of revelation. That's why when we try to work on a story, we work on a story that has some kind of a meaning that we don't quite understand."

Filmmaking cannot survive without individual expression

"Filmmaking cannot survive without individual expression. Motion pictures cannot be made to please the producer's image of the public. Without individual creative expression, we are left with a medium of irrelevant fantasies that can add nothing to an already diversified world. The answer cannot be left in the hands of the moneymen, for their desire to accumulate material success is probably the reason they entered filmmaking in the first place. The answer must come from the artist himself. He must become aware that the fault is his own, that Art and the respect due his vocation as an artist is his own responsibility."

Cassavetes

A essência do ator é a compaixão

Devemos observar as pessoas não para imitá-las, mas sim para compreendê-las com a nossa alma, para só então encontrarmos as sementes que existem dentro de nós que são a potência da vida que daremos a esses personagens.

"The only way a director can create an environment in which actors will take the kind of emotional risks that they did in John's movies is

if you are an extraordinarily open, loving, giving and receptive audience."

Bogdanovich on Cassavetes

Not only God... But Acting is in the details.... Don't rush and concentrate on each and every little detail moment to moment...

My recent lesson on Sense Memory is on the importance of the details... I supposable knew it already... we have to be specific, moment to moment... But as many times just the big picture did it to me, I think I started not to really go to the details. The other day I was doing affective memory... I was trying a new memory that I haven't tried before... I started and I truly could see a picture of the place it happened, as a detailed as a picture can be, the details are there, but it's still a whole.And than I sid "It's not working!" and Robert said "How come is not working, you've doing it for only 5 minutes!!!" And than he started to guide me through the details "Is it a church? How are the windows?" "There's no windows, it's a church inside of a hospital." "How many rows?" And than I started to concentrate on that, and the more I forced myself to concentrate on the details, more the whole became stronger, It's not that the big picture wasn't there...it was, but I focused on the details, and it hit me when I was looking at my grandmother... Again, I was somehow seeing the whole... He asked me "What are you concentrating now?" I said "The clothes of my grandma" And he started to ask the most specific questions about it and when my concentration was as detailed as seeing the blue veins on her tanned hand, the emotion exploded inside of me....
After that I realized that even in life I do that... I rush through thoughts, that's why my room is a mess!!!! And I can only think that I have to organize my room, and I have a clear image of the messy room.... But how you organize a room? You pick clothe by clothe, book by book and pile them, but you can't simply organize your clothes, you have to touch each and every single piece of clothe to do so... And with sense memory it's exactly the same... It's not easy, but it's on what I'm forcing myself to concentrate now... Sometimes the big picture might do it, but still, concentrate on each little detail is something that I can control, and that I know it really recreates the whole... We have to force ourselves not to rush (one of the biggest sins on acting!) and to be the most detailed and specific as we could be!

"I don't even think of myself as a director (...) But I do have an interest in my fellow man."

Cassavetes

(Uma vez mais e sempre... Nada do que é humano me será alheio!)

Why talk about love?

"Everything that affects our lives is determined by the influence that one sex has upon the other. Sure, we're in the midst of political decay and turmoil. But that's not nearly as interesting, that's more mental, based on how much information you have. The relationships between men and women are permanently fixed in our instincts, not our minds."
John Cassavetes

About Cassavetes on the Documentary "A constant Forge. The life and Art of John Cassavetes."

Extraordinary people look at something and see three things. The average person, he can see one. John was able to see ten. And he was able, somehow, to put'em all together. He housed within himself, under one roof... all the contradictions. He was a man of action, but he was also a dreamer. He was teeming with feeling, emotion... and yet he was extremely intelligent. There are revolutionaries who want to tear down and make something fresh... And then there are the old fashioned, those who see the wisdom in the past. John saw both. He was both, he was a complex man (...) He was a wild animal, and yet family was central in his life."
Peter Falk

"John told me, last time I saw him, this story about his father. I said to him, "How is it that your father let you- Didn't he fight you about being an actor?" And he said, "Well, you know, it's funny you ask me... because I went to him, and I said 'I don't want to go to college. I want to be an actor.'" And his father looked at him, and he said "He gave me this very solemn look... and I thought 'Oh My God. I'm really gonna get it.' And he said 'Well, that's a very noble thing to do. But do you know what kind of responsibility that is? You are going to have to be truthful to each of those character's human natures.'" And that's what he did. He listened to his daddy."
Lelia Goldoni

Stanislavski, Strasberg, Cassavetes, Bergman...

Stars to follow...

The White Feather

It’s hard to believe this is the first work of playwright Lorenzo Fuizzi. The play is one of the best-written comedies I have read in awhile. So when I was invited to come and see the opening night I was excited. I remembered the dialogue being fresh, funky, and real, which is surprising because the play is crazy from start to finish.

It tells the story of a group of roommates and friends. The protagonist, Nicolas, has two dilemmas which he must solve before his father comes to visit, and his roommates, Grace, and friends, Phil and Henry, seem to only get in his way and make things worse. Grace refuses to hide his weed plants, somehow a drunken priest moves in, and the situation degenerates as his girlfriend, Elly, demands that he starts growing up and quits smoking. Most of the play takes place in Nicolas’ living room, where you get to watch the characters’ lives and see how badly they mess up. It’s rather funny, you do feel sympathy for Nicolas but at the same time, you wish you could be up on stage making fun of him, joining his devilish friends to make things a bit more complicated for Nicolas.

The cast was brilliant. Daniel Zovatto plays Nicolas whose OCD and demanding father are keeping him from discovering his true self. He’s lost, unsure of what he wants from life. You watch as his character struggles, drowning under the pressure to be what he’s not. You see him drive away his girlfriend, played by Isabelle Kaif, who truly cares and tries to help him be the person she really knows he can be. She’s definitely the adult in the relationship. Henry, acted by the playwright himself, and Phil are the comic relief. They are don’t care about Nicolas problems. They are involved in their own worlds and miseries and they keep you laughing constantly.

I hope to see more scripts from this author and this group of actors. The performances were great, united by their director Alejandra Bufala. The comedy succeeded by telling a story many of us, if not all can relate too. What should we do with our lives? And just because we may be unsure of our dreams, does that mean we should settle? Or conform to our parent’s plans for our lives? It made me think. I even went back the last week to see how it held up and I still enjoyed it!

After a long day of rehearsals, scene night with Anna Strasberg I come home and...

I swear that I try to stop... I told myself "Just give it at least a little break, let's read a magazine!" I take a Brazilian magazine, about arts...ok... Open it and start reading a random article about the Oscars and than... here his name was... Lee Strasberg and the Actors Studio.... You see.... it never stops... It's there... A clear path to follow..

"But when it comes to the actor, the creator and the material are a whole."

"The creation of the writer, of the painter, of the sculptor, is as well closely related to their personality, but when it comes to the actor, the creator and the material are a whole. The creation of the writer, of the painter, of the sculptor, is as well closely related to their personality, but when it comes to the actor, the creator and the material are a whole.
Our body, our voice, our temperament, substitutes the colors, the marble or the mud. We work new people out ofourselves, people on who we reincarnate the author's will and our own imagination."
Maria Knebel in Poetics of Teaching

Directing... in Poetics of Teaching by Maria Knebel

"The director is a three faced being
1.The director-interpret, that shows how interpret a role, for what we can call him a director-actor or director-teacher
2. The director-mirror, that reflects the individual qualities of the actor
3. The director-organizer of the whole show.

The audience sees only the third face of the director. It shows on everything: on the mise-en-scene, on the ideas of the set, on the music, on the lights. The director-interpret and the director-mirror are not seen, they were merged with the actor.

I often say that the director should disappear on the creative work of the acting. The director guides the actor showing how to enrich their role, but sometimes this work takes him untill finding the minimal details and than the actor doesn't do more than copying his interpretation. Even when the work of the director is deep and rich, it's necessary that it shouldn't leave a perceivable mark . The best prize to the director happens when the actor himself forget about what he received from the director to the point of focusing on all his expressions."
#Vladimir Ivanovich Nemirovic-Danchenko, Theatre Heritage, t.1, Moscow, Iskustvo,p256

In Poetics of Teaching by Maria Knebel

"The choice of the repertory, the distribution of the roles, the idea and the determination of the supreme task depend on the director's interests. The objective of the artistic creation, the man's objective as a director, will determine the depth and the content of his art."

Ainda pensamentos sobre como criar um personagem que pensa e sente diferente de mim...

Observar os outros... Observar o outro diferente de mim, mas que mesmo assim eu identifico como um semelhante... Sempre há pontos de encontro, deixar-se levar pelo universo do outro, buscando em que ponto se encontram as semelhanças a as diferenças, há de haver uma semente em comum... Observar o outro com a os mesmos olhos com os quais observamos a nós mesmos... sem positivo, nem negativo, simplesmente observando aquele conjunto de circunstâncias que é o outro ser... Conhecer, entender, observar e refletir sobre o outro, trazendo-o sempre mais perto de si....

Sometimes this is just too personal...

Além de Atriz, eu sou um animal de teatro, mas como bom animal de teatro, sou essencialmente Atriz.

Character work, character work...

E ele também disse que é hora de trazer o treinamento que eu tenho anterior de imagens, character work, etc e tal para a mesa... Criar personagens e preenche-los por dentro... Agora, por exemplo, estou buscando referências para Lorna... Lauren Bacall é o meu objeto de atenção... Quero fazer o Animal exercise com ela...

Preciso trabalhar essa questão...

Me dei conta que pra mim é muito difícil escrever sobre atuação em português... Não sei se é simplesmente uma diferença de termos ou de maneiras de pensar... E como boa brasileira, filha antropófaga que sou, preciso aprender a traduzir essa ponte.

Começa que no Brasil a gente não fala muito "atuação", o trabalho do ator talvez fosse a melhor tradução... Mas atuar é o trabalho do ator, e atuar vai além do teatro... é o que eu sempre disse.. aqui no Strasberg eu estou estudando atuação, não Teatro (claro que acredito que o elemento essencial do Teatro é o Ator), mas o paralelo mais simples é como se no Brasil eu tivesse estudado música, e aqui eu tivesse aprendido a tocar o Piano... Um não existe sem o outro, mas ao mesmo tempo não são a mesma coisa....
Outra palavra que a gente não costuma usar para se referir ao ator é Treinamento... o que diz muito sobre como o trabalho do ator costuma ser visto no Brasil... treinamento e técnica é o que eu aprendi aqui, e preciso aprender a traduzir para aí!

Ups! Me topé con un nuevo escalon...

To be an actor is to be constantly dedicated to break your habits, and limits... And once you understood something of your craft, soon enough a new challenge will appear... And since the kind of acting that I believe (which some will refer to Method acting, but I prefer to call it a constant pursuit to the Truth) is totally woven with life, inevitably when you bump into an acting challenge, it is a personal challenge that you have to overcome...
I think every person is confronted with their limits every now and then, and life demands us to cross that barrier so we can grow and keep on walking... But when you are an actor, every new character you get on your hands (and your body and mind) will demand an understanding of life that you may not have had yet... And in this process of understanding someone else's mind, you end up understanding something new about yourself!
My actual struggle (and thank God, I still have two months in school to face it on a, let's say, safe environment) is the difference between the way I feel things and the way my characters express what they feel... or what they do with what they're feeling.

My friend Patricio Witis, who happens to be my director, and a fellow actor with whom I share artistic dreams said that I suffer towards the outside instead of towards the inside (this is my gross translation of "Vos sufris hacia fuera y no hacia adentro"). And now at the Institute I have some characters (specially Lorna from Golden Boy and Petra from The bitter tears of Petra Von Kant) that developed a shell to deal with people so they won't be hurt again. And as my teacher well pointed, I, even having been hurt in life, didn't develop that shell, as most people who are hurt develop. (Patricio also said he believes we all develop shells, they might be different, but on one way or the other, they are there... Maybe mine is to be sweet, as Augusto Fernandes once pointed of being my "social character"... and as it appear on my constant playing the action of pleading...)

Doing a scene from "Spike Heels" on a recent class of the same great teacher, I had already bumped into the challenge of learning a new way of expressing what's going on inside me according to the circumstances of the character and of the play. But with Petra and Lorna it became more concrete what is my personal difficulty -the lack of a shell- and as I told my teacher, what he's asking me now is difficult to me as a human being, beyond than as an actress (but again, it's all the same.. we, actors, are just professional human beings...)

Of course I got obsessed with that, and got into a weird mood that didn't allow me to be really social, but everything after yesterday class became a clue on this new direction... on a talk with my roommate and as well fellow actor Ori Golad, he had some great insights about this lack of shell of mine, and explained me about how people develop their shells... I realized that because I had a big tragedy on such an early moment of my life, everybody around me always understood and allowed me to express my pain... I was "allowed" to suffer... But I remember that my Grandma (who deserves a post to herself, such were her insights about human being, that again are applied to acting) told me few months after my mother died, that people would only have patience to our suffering to a short amount of time... (she developed a shell herself that only Alzheimer was capable of put aside...) I kept thinking about that and trying to find inside myself what are the things I hide (believe me.. I found some... not many... but maybe enough to be able to relate to this "closing" action that is so difficult to me...) And today I went to see "The King's Speech", to see how Colin Firth does to feel a lot and still hold it together, what he does brilliantly by the way... And pieces started to fall into their places, and what was anguish became joy of understanding something new about myself that I can apply to my acting.... I can't wait till Tuesday, so I can try an affective memory of a moment that I had to "suffer towards the inside" in respect to other people's suffering, or simply in respect to the sublime nature of that moment...

Human, too human... And as nothing that is human is alien to me... Somehow I could connect the dots between my way of thinking and my character's way of thinking... A constant adaptation of who we are might be the lesson of this week... Thank you, once more, Robert!!!

"Eu vou levar um tiro por dizer isso. Mas quem disse que a arte custa dinheiro? E, portanto, quem disse que os artistas têm que ganhar dinheiro?"

O Dionisio postou essa frase do Copolla no Facebook.... E armou-se o barraco virtual! Aí vai o que eu penso:


Pois se o artista cumpre uma função na sociedade, tal como a educação e a saúde, e médicos e professores recebem seus salários para poder se dedicar inteiramente ao que podem dar de melhor para o coletivo, por que então o artista deveria morrer de fome? Arte não é mercadoria, não deve ser esse o ponto, mas Arte é essencial desde que o mundo é mundo... E se a moeda de troca hoje em dia é o dinheiro, e quem faz arte não vive de fotossíntese, ou pra quem quiser, não vive só do alimento pro espírito, nada mais justo do que que o artista poder viver do que entrega a sociedade! E como bem disse Cacilda Becker "Não me peça pra eu dar de Graça a unica coisa que eu tenho pra vender"!

Michael Chekhov on characterization... This is Gold!

"As soon as you get more or less familiar with your character, try to compare it with yourself, ask 3 questions.
The first one: What's the difference between my way of thinking and the character's way of thinking, that means what is the difference between his mind and my own mind? (...) The more differences you will find between your mind and the mind of the character, the clearer, the more distinct, you will begin to understand what your character is. That means, what characterization concerning the mind you will need while studying and later on performing your character. Than try to find the differences between the feelings and emotions of your character and yourself. In this case you might discover for instance that you are a rather passionate, easy inflamable, that you are inclined to love and to forgive people and so (!!!) Whereas in contrast to you, your character might be cool and cold, never loosing his temper and is inclined to accuse people around you. And investigate the nature of your will and the will of your character. (...) Accumulate and try down all the differences you were able to discover between you and your character: Mind, feelings and will impulses. Consider this differences as characteristic features of the character you are working upon and now with this differences in mind, or rather in the back of your mind, go over your entire part speaking the lines, or perhaps only whispering them, imagining or actually do your business and you will notice that you will reach gently and gradually the characteristics of the part will creep into your performance. But please do not force the result, do not toil, just do it easily, playfully, that the results will come by themselves. By going this way through your entire part, don't try to keep in mind all the differences at once, take them one by one. I don't think I hardly need to mention that by using this gentle and sutil means of assuming your characterization, you'll still remain whithin the frames of the type that you always represent on the stage. But you are going through the transformation and that is the point of it."

*I transcribed this from the CD "Michael Chekhov- On Theatre & The Art of acting"

Parece simples e o é...

Eu amo o Lee Strasberg Institute, como qualquer pessoa que troque mais de 5 palavras comigo já o sabe... Encontrei no Método, filho direto do Sistema de Stanislavski, as ferramentas que intuía necessárias, mas que nem sabia existentes... Aprendi muito momento após momento com meus professores aqui, essencialmente com Robert Ellerman. Meu destino aqui encontrou uma nova direção, um novo norte, uma nova base... E agora estou prestes a me formar... Esses 2 anos foram necessários... Lembro do Augusto Fernandes, lá em Buenos Aires, dizendo que o treinamento do ator era como o de uma luta marcial... Você entra em contato com tudo desde o começo.... mas é no treinamento constante e paciente que acontece o aprofundamento.... E nesses dois anos muitas compreensões aconteceram, uma derivando da outra, cada uma a seu tempo....
Se sou sincera, vim pro Strasberg procurando as ferramentas para a emoção... aqui descobri que o buraco é bem mais embaixo, e o que na verdade o que eu sempre procurei foi a tal da verdade.... O viver, re-viver, experienciar, re-experienciar em cena.... Re-experienciar com toda a sua potência..... estando inteira, entregue de corpo e alma... Foi uma conquista o fluxo de emoções... E agora as emoções já estão aí... a flor da pele, acessíveis, disponíveis... E nessa semana descobri o próximo passo... o que fazer em cena com a tal da emoção... por que a emoção em si não move a cena, não move a peça... ela precisa estar intimamente ligada a ação... E a ação está ligada a lógica... e a lógica é o que conecta o todo, que é o universo que é cada peça. A minha emoção, o meu corpo e a minha alma tem que estar alinhadas com tal lógica e com tal universo... e esse alinhamento é o trabalho do ator...
Mas essa semana, compreendi algo muito concreto... Fazendo uma cena, meu professor disse que eu precisava deixar derramar só uma lava do vulcão, e não explodir o vulcão inteiro... Só que o tal me colocar nas circunstâncias dadas me encheu de uma tal fúria, que foi muito dificil conter o vulcão inteiro logo de uma vez... "Que problema interessante você tem nas mãos..." me disse ele... Aí eu lembrei.. o personagem age de uma tal maneira... e eu preciso adaptar os meus instintos e impulsos a essa maneira... Dirigindo a cena de dois colegas, o mesmo professor disse algo que jogou luz na mesma questão: "Você pode sentir todos os impulsos, você escolhe agir a partir deles ou não dependendo das circunstâncias." E aí tudo fez sentido!!!! Tá tudo bem... as minhas emoções, impulsos e instintos são muito bem vindos, e se bem alinhados a lógica do todo, são inclusive corretos! Mas a expressão desses impulsos tem que ser polida de acordo com o que convém a cena.
Parece simples, e o é... mas foi a revelação preciosa dessa minha semana!

‎"If the Actor is not there... Than there is no theatre."

Michael Chekhov

This that we do remain mysterious and sacred to me...

mysterious |məˈsti(ə)rēəs|
adjective
1 difficult or impossible to understand, explain, or identify; • (of a location) having an atmosphere of strangeness or secrecy; 2 (of a person) deliberately enigmatic

sacred |ˈsākrid|
adjective
connected with God (or the gods) or dedicated to a religious purpose and so deserving veneration; • regarded with great respect and reverence by a particular religion, group, or individual


I'm on my last semester at Strasberg.... and now I finally got an Audition class, trying to learn something about the business side of this that we do... And now is time to move on from my "I'm the Seagull" monologue that I've been using to defend myself till now. Time to find a Monologue to work on and to show who I am.... Lorca Peress, my great Audition teacher, told me last week that I am somewhere in between the off beat/neurotic young woman and the innocent/naive girl.... Well, I identify with both... And I thought that a monologue I saw in"Sex, Relationships, and Sometimes... Love" would portray both sides of me.... and it touched me deeply when I saw it on stage.... And it touched me deeply on this Sunday Morning when I was rehearsing it on my messy bed.
I started to read it and immediately tears came to my eyes, and this kind of soft pressure wondered from my chest to my throat and than my eyes... I know why it touches me, it touches my deepest core.... And I broke the text and named the notes and my personal objects and experiences connected to the monologue.... While I was analysing it, I was afraid that my first reaction would go away with such a rationalization, I remember of Robert Ellerman telling us about this actress from the Moscow Art Theatre who would cry on the same spot on every performance, and than the cast would ask her how she could do it and from the moment she tried to rationalize that, she lost it... and than she had to look for different objects of concentration to be able to do the same thing that was spontaneous before... Well... at least on my "bed rehearsal" today, it didn't happen... after naming what was moving me, it kept on doing so when I did somehow my "Listening and talking" on my own.... And moving me to the point of almost hurting me.... And I felt the same yesterday while I was reading "Spike heels"... I think after two years of Method training, everything got to my surface... But that "everything" is sooooo personal, that sometimes I feel like cheating myself, cheating the sacred side of myself to act... I don't want to use what I learned with tears and sweat in life for the sake of nothing.... There must be something there in the text that I wanna share as a human being, something that I believe that is important to be said and shared, something that I believe that my personal experience might shed a light on, so it's worthy and somehow sacred to touch my wounds to do it..... Because if not.... if it's just for the sake of "getting emotional", I feel like a dirty rape to my soul...

So happy to be back in touch with Vanities! Good rehearsals are good for the soul! Juliana, Sol and Isa keep impressing me!!!

Eu entendi muitas coisas nesse ensaio... Logo desenvolvo....

‎"To have an objective point of view on oneself and to know that one belongs as a piece to the world are necessary qualities tobe an artist"

"Ter uma visão objetiva de si mesmo e se se saber parte do mundo são qualidades necessárias para ser um artista."

...Trecho do livro "Poéticas do ensino" da Maria Knébel, que eu tô traduzindo informalmente do espanhol para o inglês para o meu mestre querido Robert Ellerman.

A alma se expressa na imagem...

Construçāo

Tão bom sentir que cada vez mais tenho a técnica ao alcance das mãos...
As sinapses se dão cada vez mais rápido e a inspiração flui.... E eu sei da onde ela vem... Fui eu quem por livre, consciente e espontânea vontade coloquei tijolinho em cima de tijolinho e abri a porta para que ela entrasse... Com a técnica eu abro alas para a intuição organizar tudo que existe dentro de mim a disposiçāo do que eu estou criando aqui e agora... Amém!

A boa técnica fica guardada do lado de dentro e se manifesta de maneira invisível na intuição.

Vanities 1st critic

http://www.theateronline.com/reviewShow.xzc?PK=25500&Action=Review

*A note about the Ipods... When the girls were on their Vanities, they were simply them, the actresses... 2010's Juliana, Soledad and Isadora.... with everything that the changing of the times put on our hands, including their Ipods... Joanne, Kathy and Mary were the ones who were back on the end of the 60's/beginning of the 70's, but they belong to the playing area, the vanities area was their place to open room inside of them to build the bridge between who they are and the circumstances that their characters were about to live on each act!

Estou convencida!

Good acting is the essential material of good Theatre!

O diretor é quem vê a ilha... e o mar....

E desenha o mapa das cavernas...

My Life in Art!

My life in art! That's what the Method is all about! As Robert once told us in rehearsal: "It's you... It's completely personal... your whole life is going on stage... It has to be personal, or else it will be indicating acting..."
Just now I understood how deep is the title of Mr. Stanislavsky's book! I feel like a kid in New Year's eve, who understands the fireworks in the sky!!!!

De eso se trata todo eso!

Augusto Fernandes una vez me dijo que yo soy apasionada por mi evolución... Mejor descripción mia no hay!
La evolución como ser humano es mi "through action" en la vida.... Y a mi alma, nada mejor que la verdad y el arte como herramientas de busqueda de esta evolución.... Por eso, me caso con el so called "The Method", que busca el justo encuentro del arte con la verdad!

Sé que es un matrimonio para toda la vida... Mi vida en el arte.... Sr. Stanislavsky, la brasileña Cacilda estaba correcta al afirmar que el teatro es cosa que se pasa de mano en mano... Soy eternamente grata a mis maestros!

Mierda!

In one week, all the coffees, cigarretes, insomnias, doubts and debts will become theatre! And we'll share our love with the audience!

Soledad, my Kathy of our Vanities wrote us this email yesterday.... Since I believe that love and knowledge must be shared, here I share her email...

"At this point, my neck hurts, my feet scream for a massage, my eyelids are so heavy my forehead can barely hold them. But then, what makes me get up each morning and go to that stage? There’s an automatic pilot at this point that drive my feet by impulse only. But besides that and the great production we’ve put together. I crave to see what new am I going to see on that stage.

Is Juliana going to leave herself on the vanity and bring Joanne to my garden in such a way my eyes can’t stop looking at her cause I don’t recognize my acting friend anymore? Leaving me wondered with her magic.

Or will Isa take Estrelas directions in a second, as if they were so easily and of second nature. I stare at her watching how every inch of her body is moved by an intention three minutes before wasn’t there. Have you seen her knees twist inwards when she’s a child and then be stiff when she becomes mature? In an era of organic causes, I indulge myself watching her be.

As if it was the highway of thoughts, of change, of creativity, of so many-things-I-want-to-do-and-need-to-be-done-in-life-and-art comes Estrela. What’s so obvious that we don’t see she easily identifies, because she craves non-stop to find out more about the truth, and she is just on her path of discovery when she stops for a second to share it with us. It’s then when I see how such clarity makes art beautiful and comprehensible. And then she craves to share so much love and understanding that you never stop taking notes, first for theater and continuously for life.

I cannot be more grateful with life for letting me share the whole gamut that matters so much to me: art, friendship, compassion, knowledge, understanding, talent, hard work, friends-work, etc, etc, etc, etc.

See you later!"

To direct is to unwrap a reality...

Finding great deep pleasure on directing...

‎"The director, like a composer, must write a score for the play (...) The director's job is to make events on stage illuminate the words, but not in a mechanical or simply physical way. The director doesn't just stage the physical reality; he supplies the heart of the event and creates a reality for the audience. He also know what problems need to be solved." in The Lee Strasberg Notes

A importância de uma boa análise de texto...

Análise de ator... é claro... análise da ação... do fazer....

The thing is... I'm alive! I'm not pretending I'm alive....

Essa necessidade de expressar o que eu sinto vai acabar me matando...

Merda!!!!

Ok mãe... Eu decidi... Quero ser atriz, tradutora, cantora, globetrotter, roteirista, diretora (de teatro e cinema!), com habilidades produtoras, ocasional performer, bailarina de Salsa, samba e Tango, mais pra frente de repente até pianista.... Mas above all atriz, tá? Muito obrigada! Assim seja, Amém!

About what I've been learning...

Trust the work you've done till now and accept that each day is a different day, and that thousand possibilities may arrive each night.... And that's the magic of the theatre... each night is special and unique... only the people in that room can testify that moment... Trying to repeat a moment you've done before is to betray the nature of the theatre itself.... We have to live and relive each night... and to repeat what happened before would mean just carrying a corpse on stage.... Allow your instrument to express the work in the way that is truthful today... What was real yesterday, may not be real tonight.... and if you're aiming for what you did last night, you will miss what's real today....
Just work hard... find your actions, understand the circunstances, relate to the material, learn your lines, build everything, try everything, work till everything become second nature.... And once the time to live on stage arrives, just trust the work, relax and concentrate the instrument and just allow yourself to follow your impulses.... with no expectations.... It's hard... I know... But it's what I'm aiming for...
I think that during rehearsal we find the places we must go.... And there it is... a score of wonderful and terrible places to go every night... All we must do, is to honestly go there.... what will come from those trips may vary... and let it vary... they are simply truthful expressions of the same wounds and treasures...

And well.... about tears.... Once my grandma told me "So many times in life we cry, without even shedding a tear...." Try to repeat is really close to fake... And I think in this that we do, we're pursuing truth, be it whatever it may be.... and faking is fatal.

Robert directing us..

"It's you... It's completely personal... your whole life is going on stage... It has to be personal, or else it will be indicating acting..."

Quando o sagrado não se estabelece...

Sometimes the soul won't just open, and than you push it... And than it's bad acting...


(Mas também... nem tudo é sagrado... E a Alma precisa sentir que existe contexto para se expor ali... Se não, é pura laundry list!)

A minha casa...

A minha casa é uma caixa
de papelão ao relento
brasa dormindo contra o vento
semente plantada no cimento
criança na calçada
a minha casa é geladeira-televisão
sem nada dentro
fogo que se alimenta do seu proprio alimento
corpo com corpo dando alento
pra campanha do agasalho
o meu cenário é a fria luz da madrugada
dando espetaculo por nada
calçada da infâmia iluminada
pela eletropaulo
a minha casa é o céu e o chão caroço bruto
catado no vão do viaduto
dando pro anhangabaú
da felicidade
ah anhangá anhangabaú
ah anhangá anhangabaú
ah anhangá anhangabaú
da felicidade

[tupã deus do brasil
que o ceu enche de luz
de estrelas de luar e de esperança
ah tupã tira de mim
essa saudade...]

Inverno do Wisnik traduz muito do que me atravessa agora...
E essa saudade é coisa de atriz....

Don't play the drama!

Drama on top of drama is melodrama!

What I want...

A theatre that functions as a genuinely life experience.... An experience that goes straight to the nervous system....
(To change people, you've got to get to their nervous system...)

2 kinds of acting:

Experience. X. Representing
inner life. Body, voice, characterization

Basics from Scene Analysis class with Robert Ellerman

*Each character's spine is an aspect of the spine of the play.
*Each scene has an event. Each moment has a little piece of that event.
*Beats are pieces of the scene. Pieces of action.
*A drop of the ocean is the ocean itself.
*Pull the circumstances out of the play, they will give you the means to bring the play to life.
*The actor instrument should be in function of the scene, of the play. (If you don't know what the scene is about, you don't know what to bring alive in you!)
*Your imagination becomes the play. The text is a series of clues to imagination. ( when you buy a novel you buy a novel! When you buy a play, you buy the clues for the play.)

It's not that I don't think! I think life!

Intelectuality for the sake of simple mind games simply bores me.

We're getting so separated from nature because contemporary life is getting more and more intelectual....

The 2 great pillars of Method acting:

Affective memory and action!

Bad technique is when you notice it.

Good technique should be invisible, should be second nature.

Não sei se vou, não sei se fico...

Should I stay or should I go?

Here I am!

What part of me do we need to use?

O meu objetivo professional

é poder viver dos meus objetivos artísticos...

Conhece-te a ti mesmo!

Por que se não conheceres, não haverá muito o que compartilhar...

The action is what makes it theatrical

Mais da série Pérolas de Ellerman...

"I don't have rules, I have principles..."

Projection doesn't come from the muscles...

Projection comes from the souls you wanna reach with this...

Dig a little more...

"There are more complex feelings underneath the surface."

Meio caminho andado....

Analyse life from the inside... See how it works, how you behave under different circumstances...

Preciso desenvolver a produtora que há em mim!

Pra poder trazer os sonhos pra realidade

Develop each little talent you have!

Bruce today at Singing class...

( E dá tempo, numa só vida?)

Kazan on directing

"My work would be to turn the inner events of the psyche into a choreography of external life."

Ao companheiro de cena...

Estou compartilhando momentos meus que perteceram a outros contigo nesse aqui e agora no meio do nada de letras alheias...

Meu patrimônio como atriz:

Quem eu sou, minha vida, minhas feridas, minhas glórias, meus passos, minhas quedas, minhas poeiras, minhas cartas, minhas letras, minhas compreensões, meus bailes, meus tragos, minhas pedras, meu êxtase, minha entrega, minha paixão, meus medos, meus desejos, meus esconderijos, minha luz, meus segredos, meu sangue, minhas lágrimas, minha fragilidade, minha delicadeza, minha mãe, meus sonhos, meus trajetos tortos, meu kamikaze, meus cantos, meus mares, minhas frustrações, minhas mortes, meus lutos, meu medo da morte, minha tara pelo amor, meu tesão, minhas facas amoladas, meus anseios, minhas portas abertas, minha honestidade, minhas casas, meus cheiros, meus amores, minhas dores, minha força, minha fúria, minha evolução....

So much to read! Take a read at that list of books!

http://www.theatreport.com/modules/newbb/viewtopic.php?topic_id=755&forum=12

It's funny how you can see through a human being while they act!

LIVE! DON'T ACT!!!!!

Da série pérolas de Ellerman...

"You have to use your body as an object, not only as a support system to your mouth!"

"You sense it... You feel it.... But it's still lines and emotions and it must be from actions to words"

"I know your line propelled you! I want your soul to propel you!!!!!"

Find the truth of inner feeling and than you can talk about physical truth...

Find this first, and after you can design things...

Can you find that experience in you?

People are not truly aware of what move them emotionally...

Learn to know the things that truly move you. Because of who you are as a person they move you....

Pros vanguardistas de botequim

Understand before "try" different things.

Pérolas de Ellerman!

In therapy you wanna ask WHY?
In art you wanna ask WHAT?