Workshop Internazionale per attori

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Workshop Internazionale per attori, improvvisatori e performers

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Un Workshop sulla creazione del personaggio, il mondo delle azioni, Animal Work ed improvvisazione per creare un nuovo intero mondo popolato dalle nostre creazioni, culminante in una immersiva ed interattiva performance pubblica dentro le mura dell’antica Rocca Malatestiana di Cesena e nel suo Centro Storico.

Traccia di Lavoro:

Lavoro sugli animali “Animal Work” per la creazione di personaggi, gli obiettivi, le azioni e l’improvvisazione per attivare nell’attore un processo chiaro e creativo.

Strumenti pratici che aiutano ad organizzare l’attore e gli permettono di diventare fantasioso, ordinato e coraggioso.

A fine workshop verrà presenata una performance pubblica creando un mondo popolto dai nostri personaggi.

Dove: CESENA, Italy

dalle 10 alle 18

Abbiamo convenzioni con Bed and Breakfast centrali

Ad un prezzo di 20/25 euro a notte.

Info e iscrizioni:

+39 3398084440

Le lezioni si terranno in INGLESE

Sul palco: Inglese o la propria Lingua Madre.

Paul Miller is an English actor, writer and film maker. He trained at the Drama Centre London under Christopher Fettes and Yat Malmgrem. He works extensively as an actor on british TV.

He has taught acting at The Drama Centre London, City Lit and the Method Studio and is also an accomplished film maker. “A short Film About Shopping” which he wrote and directed premiered at the 55th London Film Festival and has gone on to screen at festivals across Europe and America.

Ensemble Workshop

Ensemble Workshop: Szenen & Monologarbeit mit Paul Miller (London, Drama Centre)

Paul takes participants through a process he has developed whilst teaching at the Drama Centre London and working as an actor. Based on the work of Uta Hagen he gently allows actors to find themselves within a character using their intelligence, imagination and skills in transformation .

Paul Miller is an English actor, writer and film maker. He trained at the Drama Centre London under Christopher Fettes and Yat Malmgrem. He works extensively as an actor on british TV. He has taught acting at the Drama Centre London, City Lit and the Method Studio and is also an accomplished film maker.
Paul Henry Miller bei IMDb (Credits: Doctors, Kommisar Wallander, Shameless and many more)

Ort: Berlin
Termin: Vom 25. bis 30. November 2014 | 10:00-18:00 Uhr
Gebühr: 610 Euro inkl. MwSt | Frühbucher nur 540 Euro inkl. MwSt.
Fördermöglichkeiten: Bildungsprämie und GVL
Die Teilnehmerzahl ist begrenzt auf :  12  Plätze!

Für Infos & Anmeldung:


Vorbereitung Aufnahmeprüfung und Vorsprechen

Vorbereitung für Vorsprechen am Theater und die Aufnahmeprüfung an Schauspielschulen
  • Wer bin ich? Wie ist die Vorgeschichte und welches sind die Eigenschaften des Charakters?
  • Was geschieht im Monolog? Wie sind die Umstände des Stückes?
  • Wo bin ich? Woher komme ich? Wohin gehe ich?
  • Was will ich und von wem? Wie bekomme ich es? Was steht mir im Weg?
  • Wann findet der Monolog statt? Was ist in der Zeit direkt vor dem Monolog passiert?

Wir werden in der gemeinsamen Arbeit Antworten auf diese Fragen finden und eine lebendige, interessante und mitreißende Interpretation deines Monologs erarbeiten.

„ Nutze dich selbst in den Umständen der Rolle. Du bist verliebt. Du raubst eine Bank aus. Benutze deine Fantasie für die Umstände, aber benutze dich und deinen Instinkt, um zu reagieren.“ – Deryn Warren

„A monologue is supposed to showcase a young actor’s talent…it gives them something that’s sturdy, it’s got alot of meat on it, you can grab on to it, and share it. That’s what you’re looking for.“ – Kevin Spacey

Vorbereitung Aufnahmeprüfung Schauspielschule und Vorsprechen Theater

Information und Anmeldung:

Writing Plays – John Patrick Shanley

Notiz John Patrick Shanley zu „the dreamer examines his pillow“:

„In the third scene of this play, Dad says, „The individual life is a dream.“ For me personally, this is a most moving idea. It frees me from my fear of death. It puts my ego where it belongs, in a place of secondary importance. It binds me to the human race, and binds the race itself to the atoms in the stars.

Who am I? This is a courageous question. As a writer and as a man I am involved in one central struggle- to discover and accept who I am. I believe all fear has its roots in denial. I have, at one time or another, denied everything. Every fact of my specific self. My parents, my Bronx origin, my Americanness, my Irishness, my appetites, my mortality, my need for love and acceptance, my jealousy, my violence, my anger.

I am not a courageous person by nature. I have simply discovered that, at certain key moments in this life, you must find courage in yourself, in order to move forward and live. It is like a muscle and it must be exercised, first a little, and then more and more. All the really exciting things possible during the course of a lifetime require a little more courage than we currently have. A deep breath and a leap.

Writing is acting is directing is living your life. I have told you the things I have just told you so that you know something of my approach to playwriting. I see no difference between writing a play and living my life. The same things that make a moment in my life succeed, combust, move, these same things make a moment in my playwriting have life. And when I move in my writing, I have moved in my life. There is no illusion. It is all the same thing.

Acting is the same as playwriting.“


Auszug aus Interview mit John Patrick Shanley:

J.P.S.: „…Everybody has these things locked in them, things they consider unlovable, unattractive. And they may well be. But people manipulate, show something or hide something to make somebody else act in a certain way, right? But the manipulator is always a slave to this thing. Usually by the time they get adept at it they’re not aware that they can’t stop. So they end up feeling that they’re in jail all the time because they can’t be themselves. So if anybody loves them, it’s a lie, because they’re not seeing the real person.“  Quelle BOMB Magazin

(Das ganze Interview u.a. über… Mondsüchtig,Danny and the Deep Blue Sea BOMB Magazin)

Zitat aus „Mondsüchtig“ von John Patrick Shanley:

“Loretta, I love you. Not like they told you love is, and I didn’t know this either, but love don’t make things nice – it ruins everything. It breaks your heart. It makes things a mess. We aren’t here to make things perfect. The snowflakes are perfect. The stars are perfect. Not us. Not us! We are here to ruin ourselves and to break our hearts and love the wrong people and *die*!”

Tennessee Williams

„There are no „good“ or „bad“ people. Some are a little better or a little worse, but all are activated more by misunderstanding than malice. A blindness to what is going on in each other´s hearts. Stanley sees Blanche not as a desperate, driven, creative, backed into a lost corner to make a last desperate stand- but as a calculating bitch with „round heels“…Nobody sees anybody truly, but all through the flaws of their own egos. That is the way we all see each other in life.“

Tennesse Williams


So succesfully have we disguised from ourselves the intensity of our own feelings, the sensibility of our own hearts, that plays in the tragic tradition have begun to seem untrue ?!“

The created world of a play is removed from that element which makes people little and their emotions fairly inconsequential..“

Tennessee Williams


 Zum Weiterlesen über die Stücke: Mit einigen sehr detaillierten Stückanalysen:

Stella Adler, On Americas Master Playwrights edited by Barry Paris

„Once I said to Tennessee, „My God, she wouldn´t do that! She wouldn´t let anybody put his hand on her shoulder like that! “ He said, „Ok Stella, pipe down. She´s not you.“

„His characters don´t blame society. They just try to run away from it….What do they run away from? From the monster of commercialism and competition, from things that kill the melody and beauty of life…“

Stella Adler


Elia Kazan, Kazan On Directing, Preface by Martin Scorsese