Friday, February 5, 2016

February exceptional discount days: until Feb. 15

Enjoy this special promotion:
19.95$ and Free shipping, save up to 9$!




This book presents acting as a mind, body and spirit practice and develops a holistic approach to the craft incorporating energy work in the training.
  • Going beyond where Michael Chekhov left off, this book presents acting as a mind, body and spirit practice and actors as emotional athletes, spiritual stuntmen and stuntwomen exposed to a constant roller coaster of emotions. Emmanuelle Chaulet, international film actress and artists coach, develops her own acting technique ENERGIZE using discoveries from holistic and energy healing modalities and breaking new ground in the performing arts field. Answering an urgent -yet never addressed- need, this book offers invaluable tools to balance life and acting, heal post-performance stress disorder and performance anxiety. You'll find cutting edge information about recovering your Highest Creative Self, the essence of your character, and true emotional balance. Foreword is written by Lisa Dalton, co-founder National Michael Chekhov Association.

Friday, November 13, 2015

Be grateful, it’s good for you and your career!

In these Thanksgiving times, I am reflecting about gratitude and what it means for actors. Over the years, I found that actors often spend a lot of time and energy complaining. I hear things like:

  • The movie business is not fair!
  • I don’t have enough auditions.
  • If only they would give me my chance!
  • Agents and Casting Directors are too hard to reach and don’t respond to my calls and emails.
  • Nobody understands my talent!
  • I don’t have enough money.
  • My part is too small, I can’t show my talent in this role.
  • The script is bad.
  • The director I work with is not creative enough.
  • The theatre is too small, I should be on Broadway, not off Broadway...Nobody will see me here.
However what these actors fail to realize, is that by complaining and looking at the negative aspect of things, they give energy to negativity, and by doing so, they make negativity stronger, and attract even more of it. Like attracts Like, which means that «what you focus on, you get more of»

Conversely, gratitude will attract abundance. The energy you give to others and the universe by being thankful, is going to come back to you ten fold.

When you are grateful, not only do you please others and spread good feelings by saying and meaning Thank You, but you also reap the benefit of abundance energy coming back at you like a boomerang. If you focus on abundance in your life, you will grow more of it. It is like giving sun and water to a flower. It will bloom.

So instead of focusing on the negative, why don’t you try focusing on the positive in these times of Thanksgiving? You have a few weeks to practice, and then wow to make it a daily habit for ever!


To help you, here are the opposite statements to those above turned into 10 simple gratitude statements that you can use every day. Try this for a month and see the results for yourself.

  1. Anyone can make it in the film industry, unknown people have become stars, I am thankful to have a chance at it. 
  2. I am grateful for this audition, I am going to have fun and play in front of these people!
  3. I am grateful to follow a path in an artistic career. Any opportunity to act is a piece of happiness!
  4. I am grateful have technology that makes it now possible to share my news directly with casting directors and agents. How amazing!
  5. There are a few selected people in the world who genuinely like what I do, my ‘special circle,’ and I am so grateful for their support and encouragement. I thank them for coming to my performances and faith in me. I will keep them informed of what I do, because they are my best allies.
  6. Food in the fridge, a roof over my head, a clean bed and hot water in the shower makes me part of the richest people in the world! I feel so lucky.
  7. No part is too small, because there is a human being behind any part. I will let this person come alive in me. I am so thankful to play!
  8. This script has potential if I bring life in the subtext, the silences, the behavior. I am thankful to have work.
  9. The director is not saying much to me and this gives me the freedom to bring my creativity to the role. I am grateful for this opportunity.
  10. This theatre is intimate. I can have a close relationship to the audience. I am thankful for that specialness.

And I am thankful to you my readers, to be able to share my point of view on acting, on life as an actor and on the world. I am grateful to be of service to you, and help you regain balance in your creative pursuit.

Happy Thanksgiving times !

Yours truly,

Emmanuelle Chaulet
author of A BALANCING ACT

Saturday, October 17, 2015

What is in YOUR way?

What is in my way? Polar opposites

When an actor works on a part, they usually ask these 4 questions to play their character: Who am I? What do I want? Where am I? and When is this? 

«The final question an actor has to ask after that is, What is in my way?

Beyond the obstacles found in the given circumstances, one can always find something deeply personal holding an actor back from his fullest creative potential. It could be simple stage fright, a special resonance to the story, perhaps a fear of success, or a Disowned Self that is inhibiting progress. It could be a fear of judgment and the anticipation that important people will be in the audience such as casting directors, peers, reviewers, or even mom and dad. Sometimes it is an inner child that has been traumatized, or a fear of failure, or maybe expectations from others, expectations from the actor himself, a feeling of insecurity or many, many other hidden fears.
Being an actor is about putting yourself on the line. The actor is the instrument, not the violin, nor the canvas or the brush, not even primarily the physical body as in the case of an athlete or a dancer, but the entire self, the emotional, physical, mental, energetic and spiritual self. Acting is the act of transforming oneself into a work of art, and in that process the entire bioenergetic system of the person will undoubtedly be affected. As the delicate interconnected nervous, emotional, physical and energetic system embodies someone else, imagining different surrounding circumstances, suddenly, its blueprint changes and gets challenged. Sir Anthony Hopkins appropriately says it in his interview with Oprah, the body doesn’t know that it is fiction. With this transformation comes an immense amount of normal anxiety and stress. Whether it is acknowledged or not, the entire nervous and energetic systems are put under tremendous pressure, and the subconscious usually reacts by trying to protect you and pull you back. This often results in a huge block preventing you from performing the role freely. This block appears in a myriad of questions, smoke screens and hidden fears that the subconscious launches to stop you from going further in the transformation. Questions like: What is the director going to think? Am I good enough? Am I trying the right thing? Am I guessing what the director wants? What will my parents think? And my teachers? My partners? The reviewers? Can I still love myself
if I play this villain? Do I look good? Is my voice okay? Can my wife still love me if I play this loser? Is my pain painful enough and readable for an audience? And for the director? Do I have enough energy? Can I come back to be myself again after this role? What if I couldn’t get back? Why didn’t I get the lead role? And so on,»
                                                (Excerpt from A BALANCING ACT, page 151-152)

Read more on how to clear these blocks. There are many different tools that can help you.  The book A BALANCING ACT outlines the different methods.



Friday, October 2, 2015

The tiny missing piece in your acting training (yet it is huge!)

  • Have you ever felt that you understood the character perfectly and had a complete and accurate intellectual analysis but something was missing in order for you to show it on stage and in your body?
  • Have you ever noticed that there was a huge gap between character analysis and performance?
  • Do acting teachers tell you things like: 'don't anticipate, get in the moment, stop watching yourself!" and yet, you have no idea how?
  • Do you feel things like : "But I do feel it, and think it!" yet it is not readable by an audience?
If you ever had these common performance issues, then you will find a very clear answer in the book A BALANCING ACT.

There is a very simple missing link that can help you transform your intellectual understanding of a rôle to the actual performance and incarnation of this character.

This missing link is the understanding of how the energy system works in the mind and body. It is the mind/body/spirit connection. Energy is carried through your intention. Simply put, "you think, therefore you are".  However, when you apply this on a role, it is very important to carry it in the body, and change your energetic blueprint to become and "wear" the energetic blueprint of the character. This is achieved through mental exercises that connect your thoughts, your energy system, and your body. When the energy changes, your body changes too. It is actually incredible to watch on another actor. Their face, their attitude, their breath, their rhythm change when the energy changes. It is the powerful effect of energy vibration on the body.

A Balancing Act will give you the missing tools and knowledge, that can translate INTENTION into actual TRUTH IN PERFORMANCE.

A Balancing Act is a book that explain how it works in simple words, and will give you tools to apply this knowledge in the acting realm.



.>>>>>>>GET THE BOOK NOW!!<<<<<<<<<



To me the most beneficial aspect of the energy work is beginning the character development process with a clear system. With this clarity you can begin work with an open mind, body, and energetic system. I currently use Emmanuelle's techniques in all of my performances."

Sean Demers, actor, playwright, singer

Emmanuelle Chaulet’s work with the actress whom I directed was transformative. After their work together, Jude’s command of her character was indelibly set into place. As her director, my work with her on character ceased. I could then only step back and watch with profound engagement as she located – performance after performance – the heart of the role, conjuring her character with confidence, clarity, humor and grace. Emmanuelle Chaulet is an alchemist.

Richard O’Brien actor, director
"It is rare to find a subject that urgently needs to be discussed and about which too little is written. The need to train the entire being of the performing artist is just such a subject. Emmanuelle Chaulet's A Balancing Act is a godsend to performing artists of any sort. Knowing how to Energize allows us to endure and even thrive during the rise and fall, the constant state of transformation, the juggling of feelings, styles, jobs, and colleagues while maintaining an even keel."


Lisa Dalton, Co-founder, International Michael Chekhov Association, Award-Winning Actor/Producer/Director and Co-founder and Certifying Board, National Michael Chekhov Association 

For more testimonials click here. 

Wednesday, August 5, 2015

Summer reading that will get you ahead while lying down on the beach...

August is here and hopefully, beach time...

While on the beach lying down on a beach towel, closing your eyes, you can still work on your craft and learn new tricks...

How about learning about invisible mental preparation?


The beauty of mental preparation is that it is done in an invisible fashion, hidden behind closed eyes...

Most actors will do obnoxious warm ups that make you look like a weirdo in the waiting room or are down right impossible to do at a casting:

  • strange warm up sounds
  • intense stretching
  • moving around
  • lying down on the floor 
  • pretend you move like an animal 
  • tongue twisters
  • big gestures
  • rehearsing lines

What if you could do an invisible warm up, just sitting down on a chair, closing your eyes, and yet be as efficient, if not more?


Wouldn't you like to know that you can be super productive, while looking perfectly normal?

That's what the power of imagination is. The power of energy preparation.

In the book A BALANCING ACT, you will learn:

  • how to prepare while closing your eyes
  • how to connect with the energy of your character
  • how to activate the creative actor within you
  • how to separate from the voices in your head that constantly criticize or judge you while you perform
  • how to create the given circumstances in the present and with your senses
  • how to ground your work so it doesn't stay in your head but expand in your body
  • and how to remain balanced throughout your work and career..

and much more... SPECIAL OFFER:  $20 instead of 24.95 during August. Free shipping




To me the most beneficial aspect of the energy work is beginning the character development process with a clear system. With this clarity you can begin work with an open mind, body, and energetic system. I currently use Emmanuelle's techniques in all of my performances."

Sean Demers, actor, playwright, singer

Emmanuelle Chaulet’s work with the actress whom I directed was transformative. After their work together, Jude’s command of her character was indelibly set into place. As her director, my work with her on character ceased. I could then only step back and watch with profound engagement as she located – performance after performance – the heart of the role, conjuring her character with confidence, clarity, humor and grace. Emmanuelle Chaulet is an alchemist.

Richard O’Brien actor, director
"It is rare to find a subject that urgently needs to be discussed and about which too little is written. The need to train the entire being of the performing artist is just such a subject. Emmanuelle Chaulet's A Balancing Act is a godsend to performing artists of any sort. Knowing how to Energize allows us to endure and even thrive during the rise and fall, the constant state of transformation, the juggling of feelings, styles, jobs, and colleagues while maintaining an even keel."


Lisa Dalton, Co-founder, International Michael Chekhov Association, Award-Winning Actor/Producer/Director and Co-founder and Certifying Board, National Michael Chekhov Association 

For more testimonials click here. 

Saturday, June 20, 2015

Energizing your work

The Energetic System: A New Acting Tool 


"Those indescribable, unspeakable things that the actor has accumulated in his soul while working creatively on his part will be conveyed only though Radiation. So an intangible means of expression may become the most tangible part of the performance, revealing the play, the part, and the actor’s individual face behind them." —Michael Chekhov 

Frost © Jean-Pierre Rousset

"Actors spend considerable amounts of time training their bodies, voices, and emotional responses. Ignoring the energetic system is like ignoring the part of the iceberg lying below the water line. By working only with the visible, actors are denying themselves an extraordinary potential and a useful set of tools for their craft, leaving to instinct and luck what should be trained the same way they train their speech, movement and emotional response. Furthermore, they need to balance their energetic system and recognize the impact that intense emotions have on their bodies and well-being. My mission was now to develop a technique for actors, exploring how to use this extraordinary new tool.

What did I discover, and why does energy awareness matter for an actor? 


I first discovered that the energetic system is another sense to be added to the five senses that I had worked on so much at The Lee Strasberg Theatre Institute. It is another part of the actor’s toolbox.

The energetic system — or energy system — is composed of energy centers and of many other elements we will develop further. Sensing with your energy system can be as powerful, if not more, as sensing with your sight, touch, smell, etc. We intuitively use the energy system when we casually talk about sensing the good or bad “vibe” in a room, or emanating from a person. We already somehow know that we possess extrasensory perception about the space around us or other individuals. This perception tells us information beyond the visible, information connected to the world of energy.

I learned that everything has a vibrational rate; objects, people, animals and thought patterns. We are all vibrating at different frequencies. The Merriam-Webster dictionary defines vibration as “a rapid to-and-fro motion of the particles of an elastic body or medium that produces sound,” and also as “emotional emanation or atmosphere that can be instinctively sensed.” Deepak Chopra defines vibration as “the frequency of brain activity in the cerebral cortex.”

I also found out that the creative state is completely linked to the state of the energy system. With a clear energetic system, the person reaches a higher state of vibration and therefore greater creative potential. Michael Chekhov had already talked about the higher self and the state of creativity. I understood the explanation behind this mysterious creative state: it is simply a level of vibration of the energy system that can be worked on as easily as one works on a muscle. By simple exercises, “energy workouts,” one can raise one’s vibrational level and clear the energetic system to a state where imagination, intuition and creativity flow freely.

The real breakthrough for me was to realize that emotions are so clearly linked to the energetic system. In the first book I read about chakras by Caroline Myss, I discovered how each chakra (or energy center in the human body) is linked to sets of emotions and issues, and how working on and affecting each energy center will have an effect on the related emotion and issues. Reciprocally, Deepak Chopra demonstrates in his book, Ageless Body, Timeless Mind, that emotions felt and expressed in real life (or for that matter on the stage) induce chemical reactions in the brain of the subject, and have an effect on the energy system, which in turn activates the glandular system. Sometimes it can even create an imbalance in the body such as thyroid disorder or other conditions. Research has shown that emotional outbursts can affect the immune system. An outburst of anger creates a depletion of the immune system for over six hours. Conversely, a feeling of joy and love will boost the immune system for six hours and increase the IgA levels, the body’s first line of defense against viruses and bacteria. More research by the Institute of HeartMath has even demonstrated that aspects of the DNA molecule can be altered through intentionality. These studies demonstrate that emotions and focused intention impact the physical and chemical structure of one or more of the bases in the DNA molecules. Scientists of the Institute of HeartMath define emotion as “energy in motion.” Furthermore, and as Gary Zukav states in his latest book on emotional awareness, The Heart of the Soul,
 “Your emotions, whether anger or happiness or any other, do not depend upon what is happening outside of you, but upon how your energy system is processing energy.” 

And also,
“As energy is processed at different locations and in different ways, different emotions result.” 

Emotions affect the energy system in an incredible way, and conversely, the energy system has an impact on emotions and feelings.

 Finally, I also discovered through my studies of RYSE® with Nancy Risley that one has conscious control of the energetic system, and that one can intentionally change its state — or map — by doing different mental exercises. 

The mind, spirit and body are intimately connected and related. Working on one will affect the other. By using mental exercises, one is able to impact the energy system, affecting one’s emotional state, and the body will react accordingly. For an actor these discoveries are of utmost importance. Getting angry, fearful, sad, or happy is part of the daily task an actor must accomplish in his job. We understand then, especially nowadays when Hollywood and television create more new monsters, serial killers, and catastrophic movies than ever before, that acting has become a very risky job and can take its toll on the performers’ health. We also understand that energy is an essential part of the actor’s toolbox."


This was an excerpt from the book  A BALANCING ACT, by F. E. Chaulet

To read more, get the book today!

Wednesday, November 19, 2014

Gratitude, Trust and Balance

©  Photo Jean-Pierre Rousset
Today, as I look through my home office window, I see the red rising sun above the sacred mountain of Basque country "La Rhune," in the south of France.
A few weeks ago, it was this amazing rainbow that I saw. Surrounded by mountains, yet on the edge of the Atlantic ocean, along a dramatic rocky coast line and beautiful sandy beaches, my new home is a blessing of peace and harmony.

I give great thanks for my new life in France, which not only gives me bliss, but also enables me to be of greater service to actors, as I regularly travel to Paris to teach and coach professional French artists in film and theatre.

But this new life did not come to me without doubts and fears. It actually took a great deal of trust to jump in the unknown like this about 16 months ago, when I left Maine, which had been my home for 22 years.

But sometimes, life calls for Trust! Trust in the future, trust in life itself and mostly trust in yourself and your dream. As you close this year 2014, reflect on what you have accomplished, and dare to dream about what you really want... Is your artist's dream tangible? Do you think about it as if it is really yours or do you still doubt it will ever happen?

Being an actor is one of the most difficult careers. You are the work. You are the art. You are the living work of art, filled with excitement and joy but also with pain, anxiety and fear... Going through this roller coaster of emotions can be tough. I know. I did it.

This is why my passion has been to share with you my experience and the tools I found along the way to help balance it all and find peace and harmony while being a performer.

My book A BALANCING ACT is the account of my journey, and of the development of a method to help you actors, reclaim your power, your harmony, your peace while increasing your ability to perform and get in and out of character.

In this time of thanks and giving, think about your actor friends who might need to read it or treat yourself! I do trust you will find important information in it.


Happy Thanksgiving!


Emmanuelle
Emmanuelle Chaulet

Artists coach
www.emmanuellechaulet.com
www.coachingdacteurs.com 


============> To order A BALANCING ACT please click here <==============


Free shipping* with Fulfillment by Amazon and STARLIGHT ACTING BOOKS!




"In fifteen chapters and six appendices, Chaulet’s carefully crafted method takes the actor on a journey from a personal awareness of his/her energy system, to an application of that knowledge in the creation of a character. 
The weaving into the text of prior realistic acting methodologies provides a strong basis for her approach, [which] unites realism as an aesthetic ideal with the energy of the body based on the Hindu chakra system."
Barbara Sellers-Young
York University
for Theatre Topics, September 2009 issue

" Chaulet readily concedes that she has picked up the trail where others ceased blazing, but she is deft in weaving the ideas together into a relevant system [ ... ] Plainly, Chaulet makes her case. The craft of acting has had an unspoken need for a system that dedicates itself solely to balancing who we are with who we are required to become. The structure of ENERGIZE is accessible because it provides an overview of various holistic centering techniques, and successful because it serves as a solid launching platform for those who want to develop their own pre- and post-performance rituals with further research."
J.J. Cobb, Eastern Connecticut State University
for The New England Theatre Journal 

"It is rare to find a subject that urgently needs to be discussed and about which too little is written. The need to train the entire being of the performing artist is just such a subject. Emmanuelle Chaulet's A Balancing Act is a godsend to performing artists of any sort. Knowing how to Energize allows us to endure and even thrive during the rise and fall, the constant state of transformation, the juggling of feelings, styles, jobs, and colleagues while maintaining an even keel." 

Lisa Dalton, Co-founder, International Michael Chekhov Association,
Award-Winning Actor/Producer/Director and Co-founder and Certifying Board,
National Michael Chekhov Association
 

==================> To order A BALANCING ACT please click here <=================

 

*on orders over $35 



Sunday, May 25, 2014

Thank you MCC Theatre!

May 2014 :

My plane just touched down in Boston Logan and here I was, back in America for a few weeks. My dear friend Karen Oster's smile welcomed me warmly and we hopped in the car to Lowell Mass, and Middlesex Community College, where she chairs the Department of Theatre and Dance. After a great night sleep to catch up on jet lag, followed by a nice breakfast, I met with the group of 17 students who are currently enrolled or just graduated from the theatre program. I was greated with great anticipation and a very warm welcome.

We spent two wonderful days exploring the various aspect of ENERGIZE, and worked on the many topics outlined in my book A BALANCING ACT.
From theory to practice, questions to exercises, group discussions to individual reflections we explored the ENERGIZE technique, the anatomy of the energy system, learned how to clear blocks, explored archetypes and inner characters and finally discussed the spiritual purpose of acting.

Here are the comments from the students at the end of these two days: I feel so grateful and honored to have met such a wonderful group of talented young artists.

Thank you all!
I hope to see you again soon,

Fondly,
Emmanuelle

 
-->
Middlesex Community College, Lowell Mass

ENERGIZE workshop, May 20 & 21, 2014


I loved the workshop. I truly feel blessed to have you here and will add this class to my resume. I feel more determined and focused than ever. I look at acting and the energy level much more differently now, with more of a timely approach. A deeper interaction with my characters will play. Jemaine Welch
~
I recalibrated my dreams. I particularly loved all the group discussions and the energy movements inspired by the elements (earth, water, air, fire). You are an intensely magical woman. Thank you. Charlette Renault-Caragianes
~
I am truly grateful for this experience. I was able to understand things about myself that I never realized before. I have become aware of feelings and energy I’ve never felt before. It was amazing. Josh Ray
~
As a new actor it was interesting to listen to the different obstacles people face throughout their acting career. Being novice in the performing arts, I feel this workshop has prepared me for what it to come. Amin Gholizadeh
~
I genuinely feel as though this workshop made me more aware and able to identify aspects of myself. By being able to isolate the faces of my personality, I could better my ability to care for myself and approached acting in a new way. Thank you so much.
Molly Flood
~
I am grateful for this opportunity to become aware of blocks and the steps I can take to remove them. I am so thankful to hear of cords and how oppressive they can be. Thank you for educating, enlightening, nurturing and gracing us with your presence. Amanda Cochrane
~
I truly wish that we had more time to share with you. What you have to share is special and important. It really helped me to watch and listen to others as well. But I enjoyed everything we did especially watching the Voice Dialogue. You teach in such a way that it feels more than just teaching. This is an experience that truly altered how I perceive acting. Anonymous
~
Fabulous. A very different approach BEFORE the approach even begins! Anonymous
~
I feel like this workshop helped me to finalize the first steps on my new path. I feel that I am more open to embracing my inner peace and positivity and the possibility to make great changes in my life for the better. I had no idea what to expect from this but I would have liked it to be longer. Thank you so much. John Bachelder
~
This was an incredible opportunity. I am very glad I was involved. This workshop taught me to be more open minded about life and the act of meditation. I would love to learn more about the aura, flower of life and chakras. I will definitely be reading those books you suggested. Merci Beaucoup! Tyler Armstrong
~
I feel so blessed to have been a part of this. This workshop has come at a time where there has been a shift in my subconscious. I needed this workshop. I feel a bit more prepared, ready to explore myself, my true self. Cookie Dibiase
~
I did not know exactly how to feel at the beginning. This type of acting has been strange and ambiguous. I tried to challenge you with hard questions, and your answers made my outlook change in a good way. You handled a wide variety of topics in a great manner. I am very glad you came! Matthew Vacher-Weill
~
The energy work/meditation session really opened up my eyes to a positive outlook and how powerful this light energy can be. Anonymous
~
Amazing workshop. I feel so much closure. I was so grateful to be in your presence. Thank you so much for your time! Patrick MacCorkle
~
You are truly a life-changing woman. Your warmth, openness and knowledge enlightened my spirit and soul. You are a gem in the world. Thank you. Cassandra Milne
~
I really liked the workshop. Very inspiring. I feel renewed strong enough to take on my beliefs and my desire. Anonymous
~
I absolutely loved this workshop and really want to learn more about working with and clearing energy blocks within myself. Thank you for bringing this information to us and sharing your work as an artist who desires to help heal people. You have really inspired me to truly believe that healing is really possible, attainable and tangible. Anonymous
~
It was so opening. I guess as a body worker I study this stuff often, but I don’t relate it to myself. It was beautiful but challenging to relate it to myself. Kelly Maglio
~



Thursday, January 17, 2013

Actor, can you love thyself?

Excerpt from A BALANCING ACT

"It is hard enough to love oneself in our society, as many of us experience difficulty with feelings of self-love and acceptance, but it is even more so for an actor. Being a performer and especially an actor is a job where your self-esteem is constantly challenged. I truly believe this is the biggest obstacle to a free-flowing performance. 

When you are an actor, not only your art and talent need to be recognized and appreciated for you to be able to earn a paycheck, but your entire self – emotional, physical and spiritual self – is constantly evaluated and judged by others, and ninety percent of the time, rejected. This is why surviving casting is so hard for actors, and much harder, it seems, than surviving a music audition or an athletic competition. A musician will be judged on his talent, his knowledge of music, and his virtuosity. An athlete will be evaluated on his physical abilities, endurance, reactivity, and stamina. Casting directors, however, not only judge you for your ability to act, your diction, and your gift for performance, but they also judge you for your looks, your voice, your behavior, the color of your hair, of your eyes, your height, size, weight, and the way your physique will relate to a particular part. One day you can be too tall, the next you are too short. One day you can be too blond, the next too dark. You can never win, and luck plays such a big role in being cast! It is about the luck of being there at the right time when they are imagining someone that looks exactly like you. If you can transform yourself enough, it is about the luck of guessing exactly what they are imagining for the part. 

As a result, actors are especially sensitive to being judged, criticized, and rejected. Their sense of worthiness is off. They constantly crave approval and reassurance from others as a source of love and praise. They focus on themselves and on getting the admiration of others to the point of sometimes appearing narcissistic. They long for the highs obtained from being on stage, being in a different energetic vibration, and living on an emotional roller coaster. They seek adulation and praise from the public and the director, yet their ego gets so many bruises along the way that as a result, they struggle between opposite emotions. On one hand, they try to constantly boost their self-esteem and experience feelings of entitlement, arrogance, and higher power; on the other hand, because they are rejected so often, they often have feelings of worthlessness, self-loathing and depression that can lead to tantrums, extreme fragility or self-destructive behaviors. They can be self-absorbed, egotistic, self-centered, even overbearing, and at the same time they often feel needy and unappreciated, carrying fears of being betrayed, misunderstood, abandoned, and unworthy. It is simply a consequence of their difficult profession. These are symptoms of what I call “Post-Performance Stress Disorder.”
To achieve a certain degree of talent and expertise, an actor must be focused on himself, as he is his own instrument. The artist self needs to be passionate, intense, exhilarated, and completely devoted to the art. The center of the universe must indeed revolve around him or her since actors need to take care of that instrument and be attuned to its needs, moods and demands. It is, after all, how they make a living, by being overly sensitive and expressive, by being a transparent emotional wellspring. However, on an everyday basis, and confronted with the harsh reality of casting and auditions (which any normal person would have a hard time to deal with, anyway) they are like gladiators arriving in the fighting arena with absolutely no protection and, even worse, with already bleeding wounds. The fragility and vulnerability necessary for them to play and produce their work of art is an impediment when they have to confront the implacable world of competition, auditions, castings, and the cutthroat “business of show business.” Actors spend most of their training learning to become more open and sensitive, and then are thrown to the lions with absolutely no knowledge of how to rebuild their fragile ego after each punch. This alone creates a terrible risk to their physical and mental health.
[...]
In order to survive in society, as well as the roller coaster of roles, castings and waiting-by-the-phone periods, actors need to learn to love themselves no matter what the situation is. They must learn to keep their inner core balanced and to clear these fearful inner children and sub-personalities. Actors need to develop a sense of self-appreciation, clear their anxiety and learn to be at ease with themselves, even alone. This is about developing an inner sense of security that is not dependent on the opinion of others. They must learn to transfer the “narcissist supply” from others to self. This means changing the barometer of their self-acceptance. Instead of relying on an outside barometer and seeking acceptance given by others, they have to switch to an internal barometer and cultivate self-appreciation and self-love."

This is an excerpt of the book A BALANCING ACT. Want to read more? Click here

Emmanuelle Chaulet is an artist's coach in France and internationally by visio conference (SKYPE).
She works in the France during the year and travels to the USA regularly to teach workshops. For information on private coaching sessions and visio-conferences SKYPE  please fill out the contact form:
http://eepurl.com/h3vF6



 

Saturday, November 24, 2012

Gifts for Performing Artists


WHERE DID THE SPIRIT OF GIVING GO?

On this holiday season, it is always possible to get more 'stuff', line up at the mall department stores, and buy with frenzy more plastic, more electronic, more junk. Then the same junk will be promptly returned for cash refunds a few days after the holidays. An american tradition that has always baffled me.

But you can also choose to give gifts that can bring change and awareness. Gifts that have a meaning, and that will last longer, honor the spirit and feed the soul.
I personnally shy away from the mall, and try to make gifts myself, bake, craft or better even, give nurturing non-material gifts: a massage, a tree in the national forest, a theatre ticket or a concert ticket.

So in this more-than-ever materialistic season, reconnect with the soul spirit of the holidays, the care, love and gratitude.
The Season of Light.

Take great care of friends, family, and of yourself,
Gift Love,

Emmanuelle

Give the gift of career development to a serious performing artist:


Gift a SKYPE coaching session and career consultation: $50 holiday special

For serious actors, musicians and dancers interested in breaking through their blocks:
So, if your artist friend:
  • battles with self-doubt or stage fright 
  • feels a resonance with emotional scars that are slowing his or her artistic growth 
  • has a true creative self yearning to shine within
  • doesn't understand what it is, but feels something is blocking him/ her from reaching his/her highest potential
  • knows that a part of them is resisting making progress but doesn't know how to change that
  • wants feed back on their career self-marketing and promotion process
  • wants true individual attention
Then this session is for them!
The session can be a choice of Voice Dialogue and Inner Character work, energy awareness relaxation techniques, or career promotion counseling.

BUY A GIFT CERTIFICATE!


For more information on the packages, go to http://www.emmanuellechaulet.com/individualsessions/individualsessions.html
email: emma@emmanuellechaulet.com

Enrollement for Individual sessions packages (6 sessions or more) continues throughout the 2013 year.
Student rates and discount packages are available.
 
 

Gift the Book!

$25. FREE SHIPPING with AMAZON!

 A BALANCING ACT  is a great tool for actors, and explores the use of energy and inner-selves (sub-personalities) for character work. I also gives advice to live a healthy and balanced life in show business. Order a copy today!
 

Signed copies (at no additional charge) are only available directly with Starlight Acting Books.

Thursday, October 4, 2012

You know you have talent, so what is blocking you?


photo by nicolas guionnet

 You know you have talent, you feel you belong on stage, but a voice inside says; "you can't do it"... Who is it? What is this block? 


Read this excerpt of A BALANCING ACT:



"Acting is the act of transforming oneself into a work of art, and in that process the entire bioenergetic system of the person will undoubtedly be affected. As the delicate interconnected nervous, emotional, physical and energetic system embodies someone else, imagining different surrounding circum-stances, suddenly, its blueprint changes and gets challenged. Sir Anthony Hopkins appropriately says it in his interview with Oprah, the body doesn’t know that it is fiction. With this transformation comes an immense amount of normal anxiety and stress. Whether it is acknowledged or not, the entire nervous and energetic systems are put under tremendous pressure, and the subconscious usually reacts by trying to protect you and pull you back. This often results in a huge block preventing you from performing the role freely. This block appears in a myriad of questions, smoke screens and hidden fears that the subconscious launches to stop you from going further in the transformation. Questions like: What is the director going to think? Am I good enough? Am I trying the right thing? Am I guessing what the director wants? What will my parents think? And my teachers? My partners? The reviewers? Can I still love myself if I play this villain? Do I look good? Is my voice okay? Can my wife still love me if I play this loser? Is my pain painful enough and readable for an audience? And for the director? Do I have enough energy? Can I come back to be myself again after this role? What if I couldn’t get back? Why didn’t I get the lead role? And so on, and so on. Often, the lower sub-personalities, the Shadow sides of the Archetypes, also called Disowned Selves, are the ones putting up the roadblocks. They do their best to protect your psychological integrity, sensing danger in the transformation required by the role. Their intent is just to protect you, to keep you safe. But the actor self cannot do his best job. "

The key to stop these voices in your head, is to really spend the time to listen to them... Strange?
Well not really. If you ignore them, they'll shout louder! If you spend the time to dialogue with them and listen to them and their opposite, then you can achieve balance... To get more information on this voice dialogue technique, contact me.
More info is also available in the book, a great gift for your actor friends, this holiday season.
FREE SHIPPING with AMAZON




This is an excerpt of the book A BALANCING ACT.  page 242. Want to read more? Click here
Emmanuelle Chaulet is an artist's coach and Lecturer in Theatre at the University of Southern Maine. Her technique ENERGIZE uses combinations of Michael Chekhov, Lee Strasberg, Voice Dialogue and Energy work.
She works in the USA during the year and in France during the summer months. She coaches performers privately in person, and via video conference Skype throughout the whole year.

Friday, September 28, 2012

Robert Cordier, an extraordinary actors' director, needs your help!

Excerpt from the book A BALANCING ACT:
"After investigating many acting schools in Paris, auditioning several times, I finally saw a magazine article about an American acting workshop in Paris called L’Atelier Robert Cordier (now called Acting International). The article promised a new avant-garde approach to theatre, with a director who had worked not only with some of the greatest American actors, but also with Jim Morrison. [...] I made an appointment.
There I discovered Lesley Chatterley, a blond, peppy, and smart British actress in her thirties who introduced herself as Robert Cordier’s partner and asked me a few questions. I was in!
The workshops were held at the Atelier de L’Ourq, which are big warehouses on the banks of the Ourq canal in Paris. These beautiful brick buildings (which, I didn’t know yet, were very New York City style), housed visual artists, co-op galleries, architects, photography studios, and this acting workshop.
The classes were amazing — a mixture of Michael Chekhov’s work and Sandy Meisner’s technique. Robert Cordier was intro- ducing about twenty-five young actors to acting, teaching us the use of the body, voice and emotions by stretching imagination and emotional response. Robert taught me everything I know: how to set an objective and to prepare, how to start a scene with a basic emotional state, how to use a physical movement to create an emotional response, how to warm up, focus, and use the body to influence the mind.
We would do many exercises from the Michael Chekhov technique, such as “Molding, Floating, Flying and Radiating,” which I will develop further later on. We learned the psychological gesture and the physicalization of action, both of which I still use today and have developed in the energetic realm. We would work on all the basic principles that an actor needs to know, which Cordier called, “Who, Where, What?” Define who your character is, where you are, and what you want (your objective) before you start the scene. I read Stanislavski, An Actor Prepares, and explored the reality of each scene. He gave us the twelve guideposts of Michael Shurtleff, explaining to us how to work with opposites and urgency. He asked us the essential questions: “Where is the love right now in this scene?” “What are you afraid of right now?” “What can hurt you right now?” He told us about the continuum between Love and Hate, the polar opposites within each emotion (which I discovered later is the basis of energy work), taught us how to create an emotional state by using the environment around us and our imagination, and trained us to go “moment to moment” in a scene.
Cordier’s alumni are found all over the professional theatre and film world. At L’Atelier Robert Cordier I met Xavier Durringer, who became one of the most translated and published French playwrights of his time, and Gérald Laroche, a character actor who won several prestigious awards later on. Xavier and I became close friends and started working on scenes together. He read to me his first script, which he called La Pleureuse, and later on offered me a part in his first play.
Cordier was not only fascinating while telling us the stories of his life in New York, he was extremely competent and definitely giving a thorough, exciting, and in-depth training. All of this was done with utmost love and support, even when he was pushing us beyond our limits. He was never condescending like other acting teachers can be. He was a loving father figure to all of us.
This was my Lesson #1: Suffering is not necessary to do good work. You can achieve wonderful creative results with love and support."


Right now Robert Cordier is needing our help and support, as he is laid off and kicked out of his very own school, the one he founded, along with all the professors who are supporting him. Please sign the petition in his support.

http://www.petitions24.net/pour_la_reintegration_immediate_de_robert_cordier

Visit this facebook page:  to support him

Visit the website: 

http://www.soutienrobertcordier.com/

English translation of the petition:

For the immediate reinstatement of Robert Cordier!

This summer 2012, Robert Cordier, founder of the school Acting
International, has been unceremoniously excluded from school he had established.

We condemn the eviction of a man, Robert Cordier, armed with a rich experience for all of us and whose love of art and teachings don't need to be proven, and we refuse to accept the mercantile and moneymaking philosophy that may take the direction of the school! The forced departure of Robert Cordier announces for us detrimental changes to the foundation of the school which were the basis of its reputation:

"The teaching concept of Acting International, unique in its completeness and innovative approach, has been developed there over thirty years ago by the founder of the school, teacher, director, producer and writer Robert Cordier. This educational activity and creation, with proven methods, constantly redefines itself through interaction and organic confrontation of complementary knowledge,–in their intersection in the schedule– of a team of renowned masters - French, Russian, American, English, Italian - which are all professional artists.
Acting International provides training to strengthen the creative potential as well as the artistic and human individuality of each student. At Acting International, the primacy is placed on the actor, through whom the scenic interpretation is realized. "

We are for the immediate and unconditional reinstatement of Robert Cordier at Acting International.

For the maintenance of all teachers from the previous year who want to stay and continue to give the school its guarantee of quality.

So that Acting International remains a quality school!

Top of Form
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Above is an excerpt of the book A BALANCING ACT.  Want to read more? Click here

Emmanuelle Chaulet is an artist's coach and Lecturer in Theatre at the University of Southern Maine. Her technique ENERGIZE uses combinations of Michael Chekhov, Lee Strasberg, Voice Dialogue and Energy work.
She works in the USA during the year and in France during the summer months. She coaches performers privately in person, and via video conference Skype throughout the whole year.