tag:blogger.com,1999:blog-64264675351184215592024-03-14T04:19:34.293-04:00BALANCE YOUR ACT! A BALANCING ACTA blog of articles discussing Holistic Acting, Energy work and Acting Techniques, Performance Anxiety and Post-Performance Stress, and the actor's spiritual purposeUnknownnoreply@blogger.comBlogger115125tag:blogger.com,1999:blog-6426467535118421559.post-51195022869544626972020-06-28T08:36:00.005-04:002020-06-28T09:28:18.223-04:00A BALANCING ACT is now available at LIBERATE HOLLYWOOD !<div class="separator" style="clear: both;">
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Thanks to the magic of one wonderful Actress <span style="background-color: white;"><span style="font-family: inherit;">& </span></span>Filmmaker and <span style="background-color: white;"><span style="font-family: inherit;">Professional Intuitive, Energy Healer </span></span><a href="https://www.kristinmothersbaugh.com/" target="_blank">Kristin Renee Mothersbaugh</a>, my book <b>A BALANCING ACT, a holistic approach to acting </b>is now available at <b>LIBERATE HOLLYWOOD</b> a superb and beautiful spiritual place in Los Angeles.<br />
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Once the <b>recording studio for mega artists such as MICHAEL JACKSON, PRINCE, and THE DOORS - </b>the center serves today as a <b>multidimensional healing center in Los Angeles.</b><br />
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Kristin just did a beautiful interview at Liberate Hollywood with Cristina on the <b>Liberate yourself podcast </b>and she talks about the book <b>A BALANCING ACT </b>better than I would have done myself!<br />
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Thank you for this unexpected support and rekindling of interest in my work, I am so grateful for this!<br />
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I hope that <b>Liberate Hollywood</b> will be the start of a new life for the book.<br />
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=> for the full interview and podcast: <a href="https://youtu.be/iDgdIAEmhMY">https://youtu.be/iDgdIAEmhMY</a><br />
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=> the <b>interview snippet is on Facebook</b>: <a href="https://www.facebook.com/abalancingactchaulet/">https://www.facebook.com/abalancingactchaulet/</a></div>
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=> to <b>purchase the book:</b> <a href="https://liberateyourself.com/">https://liberateyourself.com/</a><br />
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For more information on my current activities and workshops and also to order the book in France or do sessions on zoom : </div>
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<a href="https://www.voice-dialogue-acting.com/publications/">https://www.voice-dialogue-acting.com</a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-77108400768252373532018-10-05T03:50:00.002-04:002018-10-05T03:50:28.744-04:00Transitioning to the New World of short circuit distribution !Many changes this year!<br />
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A BALANCING ACT is leaving Amazon and big business distribution to go directly to Los Angeles small booksellers.<br />
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It will still be available to shipping in the world via the new website, but Amazon has proven to be too much of a giant racket. :-) Although I am grateful for the exposure it brought to the book, it is now time to leave.<br />
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The NEW WEBSITE is called : VOICE DIALOGUE ACTING to better reflect the current work I do.<br />
It is still a holistic approach to acting, but it includes more Voice Dialogue as this tool is very adapted to acting.<br />
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<a href="http://www.voice-dialogue-acting.com/">www.voice-dialogue-acting.com</a></div>
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and also <a href="http://www.emmanuellechaulet.com/">www.emmanuellechaulet.com</a></div>
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One site two addresses</div>
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If you are interested in the book, use the contact form to order and we will arrange to ship it to you.<br />
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<a href="https://www.voice-dialogue-acting.com/contactez-moi/" target="_blank">https://www.voice-dialogue-acting.com/contactez-moi/</a></div>
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Thank you for following me in reducing the carbon footprint and impact on the world!<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-5763376443313799202016-02-05T03:14:00.003-05:002016-10-03T17:22:33.310-04:00February exceptional discount days: until Feb. 15Enjoy this special promotion:<br />
19.95$ and Free shipping, save up to 9$!<br />
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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.<br />
<ul class="uiList fbSettingsList _4kg _4ks" style="background-color: white; border-bottom-style: none; border-top-style: none; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 12px; line-height: 12.864px; list-style-type: none; margin: 0px; min-width: 558px; padding: 0px;">
<li class="_4ne- fbSettingsListItem" style="border-color: rgb(233, 234, 237); border-style: solid; border-width: 1px 0px 0px; word-wrap: break-word;"><span style="font-size: 14px; line-height: 18px;">Going beyond where Michael Chekhov left off, this book presents acting as a mind, body and spirit practice and actors as emo</span><span class="text_exposed_show" style="display: inline; font-size: 14px; line-height: 18px;">tional 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.</span></li>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-43815865414799148492015-11-13T04:20:00.002-05:002015-11-13T04:20:38.743-05:00Be grateful, it’s good for you and your career!<div class="p1">
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 <b>complaining</b>.<b> </b>I hear things like:</div>
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<li><i>The movie business is not fair!</i></li>
<li><i>I don’t have enough auditions.</i></li>
<li><i>If only they would give me my chance!</i></li>
<li><i>Agents and Casting Directors are too hard to reach and don’t respond to my calls and emails.</i></li>
<li><i>Nobody understands my talent!</i></li>
<li><i>I don’t have enough money.</i></li>
<li><i>My part is too small, I can’t show my talent in this role.</i></li>
<li><i>The script is bad.</i></li>
<li><i>The director I work with is not creative enough.</i></li>
<li><i>The theatre is too small, I should be on Broadway, not off Broadway...Nobody will see me here.</i></li>
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<span class="s1">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.</span><span class="s2"><b> Like attracts Like</b></span><span class="s1">, which means that </span><span class="s2"><b>«what you focus on, you get more of»</b></span><span class="s1">. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnJ6vfVZJj4ja2c1-j12Af_uT4yScH9MEGiSaQUAo_I3_npJGQsyWYRKddzRCxdu3jb8uiLbc242ar8FkMgcJ0R7j3ybN7O_dM4CKcKJLo9Z4va4FcPz7_eYW4Wba-FCVRVr0W37gMFJI/s1600/bivouac_JPR9654-2-rousset_original.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnJ6vfVZJj4ja2c1-j12Af_uT4yScH9MEGiSaQUAo_I3_npJGQsyWYRKddzRCxdu3jb8uiLbc242ar8FkMgcJ0R7j3ybN7O_dM4CKcKJLo9Z4va4FcPz7_eYW4Wba-FCVRVr0W37gMFJI/s320/bivouac_JPR9654-2-rousset_original.jpg" width="320" /></a><span class="s3">Conversely,</span><span class="s1"><b> 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.</b></span><span class="s1"></span></div>
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<span class="s1"><b>When you are grateful,</b></span><span class="s3"> not only do you please others and spread good feelings by saying and meaning </span><span class="s1"><b>Thank You</b></span><span class="s3">, but </span><span class="s1"><b>you also</b></span><span class="s3"> </span><span class="s1"><b>reap the benefit of abundance energy coming back at you like a boomerang</b></span><span class="s3">. </span><span class="s1"><b>If you</b></span><span class="s3"> </span><span class="s1"><b>focus on abundance in your life, you will grow more of it.</b></span><span class="s3"> </span><span class="s1"><b>It is like giving sun and water to a flower. It will bloom.</b></span></div>
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<span class="s1">So instead of focusing on the negative, </span><span class="s2"><b>why don’t you try focusing on the positive in these times of Thanksgiving? </b></span><span class="s1">You have a few weeks to practice, and then wow to make it a daily habit for ever!</span></div>
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<h3>
<span style="font-weight: normal;"><span class="s1">To help you, here are the opposite statements to those above</span><span class="s3"> </span></span><span class="s1"><span style="font-weight: normal;">turned into </span><b>10 simple gratitude statements that you can use every day.</b></span><span class="s3"> <span style="font-weight: normal;">Try this for a month and see the results for yourself.</span></span></h3>
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<li><i style="font-weight: normal;"><span style="color: #b45f06;">Anyone can make it in the film industry, unknown people have become stars, I am thankful to have a chance at it. </span></i></li>
<li><i style="font-weight: normal;"><span style="color: #b45f06;">I am grateful for this audition, I am going to have fun and play in front of these people!</span></i></li>
<li><i style="font-weight: normal;"><span style="color: #b45f06;">I am grateful to follow a path in an artistic career. Any opportunity to act is a piece of happiness!</span></i></li>
<li><i style="font-weight: normal;"><span style="color: #b45f06;">I am grateful have technology that makes it now possible to share my news directly with casting directors and agents. How amazing!</span></i></li>
<li><i style="font-weight: normal;"><span style="color: #b45f06;">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.</span></i></li>
<li><i style="font-weight: normal;"><span style="color: #b45f06;">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.</span></i></li>
<li><i style="font-weight: normal;"><span style="color: #b45f06;">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!</span></i></li>
<li><i style="font-weight: normal;"><span style="color: #b45f06;">This script has potential if I bring life in the subtext, the silences, the behavior. I am thankful to have work.</span></i></li>
<li><i style="font-weight: normal;"><span style="color: #b45f06;">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.</span></i></li>
<li><i style="font-weight: normal;"><span style="color: #b45f06;">This theatre is intimate. I can have a close relationship to the audience. I am thankful for that specialness.</span></i></li>
</ol>
</h3>
<div class="p4">
<span class="s1">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.</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p4">
<span class="s1">Happy Thanksgiving times !</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p4">
<span class="s1">Yours truly,</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p4">
<span class="s1">Emmanuelle Chaulet</span></div>
<div class="p4">
<span class="s1">author of A BALANCING ACT</span></div>
<br />
<div class="p1">
<span class="s1"><b><a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=G3AEM8FRCWSJU" target="_blank">>>>>>>>>>>>>>To get more of this, purchase the book here!<<<<<<<<<<<<<</a></b></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-18205789380013204262015-10-17T12:56:00.000-04:002015-10-17T14:14:30.365-04:00What is in YOUR way?<div class="p1">
<span class="s1"><b><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">What is in my way? Polar opposites</span></b></span></div>
<div class="p2">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">When an actor works on a part, they usually ask these 4 questions to play their character: <span class="s2"><b>Who am I? What do I want? Where am I? and When is this? </b></span></span></div>
<div class="p2">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="p2">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">«The final question an actor has to ask after that <span class="s2">is, <b>What is in my way?</b></span></span></div>
<div class="p2">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><br /></b><span class="s2"><b></b></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdv8EtbEvU2msS1ieFwZ0Bft2Ibygfxn9sayhbwHSQ8rtem6VTzW6UfWcMN2htEVuc-vXXSJD46UOW715_dwA1YRYvNe47nha_ja66cn7JcNp6WhDOyInpXVNrW-vp8pOjRl-Miojk7YE/s1600/img_5639.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdv8EtbEvU2msS1ieFwZ0Bft2Ibygfxn9sayhbwHSQ8rtem6VTzW6UfWcMN2htEVuc-vXXSJD46UOW715_dwA1YRYvNe47nha_ja66cn7JcNp6WhDOyInpXVNrW-vp8pOjRl-Miojk7YE/s320/img_5639.jpg" width="320" /></a></b></span></div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span class="s1">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 </span><span class="s2"><b>stage fright</b></span><span class="s1">, a </span><span class="s2"><b>special resonance to the story</b></span><span class="s1">, perhaps a </span><span class="s2"><b>fear of success</b></span><span class="s1">, or a </span><span class="s2"><b>Disowned Self</b></span><span class="s1"> that is inhibiting progress. It could be a<b> f</b></span><span class="s2"><b>ear of judgment and the anticipation that important people will be in the audience</b></span><span class="s1"> such as casting directors, peers, reviewers, or even mom and dad. Sometimes it is an </span><span class="s2"><b>inner child that has been traumatized</b></span><span class="s1">, or a </span><span class="s2"><b>fear of failure</b></span><span class="s1">, or maybe </span><span class="s2"><b>expectations</b></span><span class="s1"> from others, expectations from the actor himself, a feeling of </span><span class="s2"><b>insecurity</b></span><span class="s1"> or many, many other hidden fears.</span></span><br />
<div class="p3">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span class="s1">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. <b>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.</b> 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 </span><span class="s2"><b>body doesn’t know that it is fiction</b></span><span class="s1">. 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</span><span class="s2"><b> a huge block preventing you from performing the role freely. </b></span><span class="s1">This block appears in </span><span class="s2"><b>a myriad of questions, smoke screens and hidden fears </b></span><span class="s1">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</span></span></div>
<div class="p3">
<span class="s1"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">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,»</span></span></div>
<div class="p3">
<i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> (Excerpt from A BALANCING ACT, page 151-152)</span></i></div>
<div class="p4">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span class="s1"><i></i></span><br /></span></div>
<div class="p1">
<span class="s1"><b><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">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.</span></b></span></div>
<div class="p2">
<span class="s1"><b></b></span><br /></div>
<div class="p3">
<span class="s1"><a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=G3AEM8FRCWSJU" target="_blank">>>>>>>>>>>>>>>>>To purchase the book click here<<<<<<<<<<<<<<<<<<<<</a></span></div>
<br />
<div class="p4">
<span class="s1"></span><br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-82531047405390294432015-10-02T06:37:00.001-04:002015-10-11T12:07:39.296-04:00The tiny missing piece in your acting training (yet it is huge!)<ul>
<li>Have you ever felt that you <b>understood the character perfectly and had a complete and accurate intellectual analysis </b>but <b>something was</b> <b>missing </b>in order for you<b> to show it on stage and in your body</b>?</li>
<li>Have you ever noticed that there was <b>a huge gap between character analysis and performance</b>?</li>
<li>Do acting teachers tell you things like: '<b>don't anticipate, get in the moment, stop watching yourself!" and yet, you have no idea how?</b></li>
<li>Do you feel things like : "<b>But I do feel it, and think it!" </b>yet it is <b>not readable by an audience</b>?</li>
</ul>
<span style="color: blue;">If you ever had these common performance issues, then you will find <b>a very clear answer </b>in the book <b><a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=G3AEM8FRCWSJU" target="_blank">A BALANCING ACT.</a></b></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTOnvZOn22ZED64kgjVp8H_5s563wcKtyEdJ7yg9c_57033CxyoWtJSiJ-G-bsbzaL5nHYgvtNbVqUQLzvUeZCQ9GGZrUW9NYJZYXdXwV7MHM6opb1rRUSk4E_gJbI7THKQG5dqDrWJO4/s1600/_JPR0086web.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTOnvZOn22ZED64kgjVp8H_5s563wcKtyEdJ7yg9c_57033CxyoWtJSiJ-G-bsbzaL5nHYgvtNbVqUQLzvUeZCQ9GGZrUW9NYJZYXdXwV7MHM6opb1rRUSk4E_gJbI7THKQG5dqDrWJO4/s200/_JPR0086web.jpg" width="200" /></a></div>
<br />
There is a very simple <b>missing link </b>that can help you transform your intellectual understanding of a rôle to the actual performance and incarnation of this character.<br />
<b><br /></b>
This missing link is the<b> understanding of how the energy system works</b> in the mind and body. <b>It is the mind/body/spirit connection. </b>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.<br />
<br />
<b>A Balancing Act</b> will give you the missing tools and knowledge, that can <b>translate</b> <b>INTENTION into actual TRUTH IN PERFORMANCE.</b><br />
<span style="background-color: white;"><span style="color: #3d85c6;"><b><br /></b>
<a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=G3AEM8FRCWSJU" target="_blank"><b><span style="color: #3d85c6;">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.</span></b></a></span></span><br />
<span style="color: blue;"><br /></span>
<br />
<h3 style="text-align: center;">
<span style="color: blue;"><span style="font-weight: normal;"><a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=G3AEM8FRCWSJU" style="background-color: white;" target="_blank">.>>>>>>>GET THE BOOK NOW!!<<<<<<<<<</a></span></span></h3>
<span style="color: blue;"><br /></span>
<br />
<blockquote style="background-color: white; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; font-style: italic; letter-spacing: 1px; line-height: 16.8px; margin: 0px; padding: 5px;">
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."</blockquote>
<div style="background-color: white; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; letter-spacing: 1px; line-height: 16.8px;">
</div>
<div style="background-color: white; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; letter-spacing: 1px; line-height: 16.8px;">
<span style="font-family: Geneva, serif; font-stretch: normal; line-height: normal;"><br /></span></div>
<div style="background-color: white; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; letter-spacing: 1px; line-height: 16.8px; text-align: right;">
<span style="font-family: Geneva, serif; font-stretch: normal; line-height: normal;">Sean Demers, actor, playwright, singer</span></div>
<br />
<blockquote style="background-color: white; color: #4c4c4c; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; font-style: italic; letter-spacing: 1px; line-height: 16.8px; margin: 0px; padding: 5px;">
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.</blockquote>
<div style="background-color: white; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; letter-spacing: 1px; line-height: 16.8px;">
</div>
<div style="background-color: white; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; letter-spacing: 1px; line-height: 16.8px;">
<span style="font-family: Geneva, serif; font-stretch: normal; line-height: normal;"><br /></span></div>
<div style="background-color: white; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; letter-spacing: 1px; line-height: 16.8px; text-align: right;">
<span style="font-family: Geneva, serif; font-stretch: normal; line-height: normal;">Richard O’Brien actor, director</span></div>
<div style="background-color: white; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; letter-spacing: 1px; line-height: 16.8px; text-align: right;">
<span style="font-family: Geneva, serif; font-stretch: normal; line-height: normal;"></span></div>
<blockquote style="background-color: white; color: #4c4c4c; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; font-style: italic; letter-spacing: 1px; line-height: 16.8px; margin: 0px; padding: 5px;">
</blockquote>
<blockquote style="background-color: white; color: #4c4c4c; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; font-style: italic; letter-spacing: 1px; line-height: 16.8px; margin: 0px; padding: 5px;">
</blockquote>
<blockquote style="background-color: white; color: #4c4c4c; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; font-style: italic; letter-spacing: 1px; line-height: 16.8px; margin: 0px; padding: 5px;">
"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."</blockquote>
<span style="background-color: white; font-family: Geneva, serif; font-size: 12px; font-stretch: normal; letter-spacing: 1px;"><br /></span>
<br />
<div style="background-color: white; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; letter-spacing: 1px; line-height: 16.8px; text-align: right;">
<span style="font-family: Geneva, serif; font-stretch: normal; line-height: normal;">Lisa Dalton, Co-founder, International Michael Chekhov Association, Award-Winning Actor/Producer/Director and Co-founder and Certifying Board, National Michael Chekhov Association </span></div>
<blockquote style="background-color: white; color: #4c4c4c; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; font-style: italic; letter-spacing: 1px; line-height: 16.8px; margin: 0px; padding: 5px;">
</blockquote>
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</form>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s1600/balancingact.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s320/balancingact.jpg" width="213" /></a></div>
<br />
<div>
<b>For more testimonials <a href="http://www.emmanuellechaulet.com/testimonials/testimonials.html" target="_blank">click here.</a> </b></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-32343081573445523222015-08-05T03:39:00.003-04:002015-10-02T05:59:31.868-04:00Summer reading that will get you ahead while lying down on the beach...August is here and hopefully, beach time...<br />
<br />
While on the beach lying down on a beach towel, closing your eyes, you can still work on your craft and learn new tricks...<br />
<h3>
<b>How about learning about invisible mental preparation?</b></h3>
<br />
The beauty of<b> mental preparation </b>is that it is done in an invisible fashion, hidden behind closed eyes...<br />
<br />
Most actors will do <b>obnoxious warm ups that make you look like a weirdo </b>in the waiting room or are down right impossible to do at a casting:<br />
<br />
<ul>
<li>strange warm up sounds</li>
<li>intense stretching</li>
<li>moving around</li>
<li>lying down on the floor </li>
<li>pretend you move like an animal </li>
<li>tongue twisters</li>
<li>big gestures</li>
<li>rehearsing lines</li>
</ul>
<br />
<h3>
What if you could do a<b>n invisible warm up, just sitting down on a chair, closing your eyes, and yet be as efficient, if not more?</b></h3>
<br />
Wouldn't you like to know that you can be <b>super productive</b>, while <b>looking perfectly normal</b>?<br />
<br />
That's what the power of imagination is. The power of energy preparation.<br />
<br />
<b>In the book A BALANCING ACT, you will learn:</b><br />
<br />
<ul>
<li>how to <b>prepare</b> <b>while closing your eyes</b></li>
<li>how to connect with the <b>energy of your character</b></li>
<li>how to <b>activate the creative actor within you</b></li>
<li>how to<b> separate from the voices in your head that constantly criticize or judge you</b> while you perform</li>
<li>how to <b>create the given circumstances in the present and with your senses</b></li>
<li>how to <b>ground your work so it doesn't stay in your head </b>but expand in your body</li>
<li>and how to <b>remain balanced throughout your work and career..</b></li>
</ul>
<br />
and much more... <b><span style="font-size: large;">SPECIAL OFFER: $20 instead of 24.95 during August. </span></b><b><span style="font-size: large;">Free shipping</span></b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s200/balancingact.jpg" width="133" /></b></div>
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<br />
<br />
<blockquote style="background-color: white; color: #4c4c4c; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; font-style: italic; letter-spacing: 1px; line-height: 16.7999992370605px; margin: 0px; padding: 5px;">
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."</blockquote>
<div style="background-color: white; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; letter-spacing: 1px; line-height: 16.7999992370605px;">
</div>
<div style="background-color: white; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; letter-spacing: 1px; line-height: 16.7999992370605px;">
<span style="font-family: Geneva, serif; font-stretch: normal; line-height: normal;"><br /></span></div>
<div style="background-color: white; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; letter-spacing: 1px; line-height: 16.7999992370605px; text-align: right;">
<span style="font-family: Geneva, serif; font-stretch: normal; line-height: normal;">Sean Demers, actor, playwright, singer</span></div>
<br />
<blockquote style="background-color: white; color: #4c4c4c; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; font-style: italic; letter-spacing: 1px; line-height: 16.7999992370605px; margin: 0px; padding: 5px;">
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.</blockquote>
<div style="background-color: white; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; letter-spacing: 1px; line-height: 16.7999992370605px;">
</div>
<div style="background-color: white; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; letter-spacing: 1px; line-height: 16.7999992370605px;">
<span style="font-family: Geneva, serif; font-stretch: normal; line-height: normal;"><br /></span></div>
<div style="background-color: white; font-family: Geneva, Tahoma, sans-serif; font-size: 12px; letter-spacing: 1px; line-height: 16.7999992370605px; text-align: right;">
<span style="font-family: Geneva, serif; font-stretch: normal; line-height: normal;">Richard O’Brien actor, director</span></div>
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"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."</blockquote>
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<span style="font-family: Geneva, serif; font-stretch: normal; line-height: normal;">Lisa Dalton, Co-founder, International Michael Chekhov Association, Award-Winning Actor/Producer/Director and Co-founder and Certifying Board, National Michael Chekhov Association </span></div>
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<b>For more testimonials <a href="http://www.emmanuellechaulet.com/testimonials/testimonials.html" target="_blank">click here.</a> </b></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-82827007838046635192015-06-20T05:31:00.000-04:002015-10-11T11:17:35.934-04:00Energizing your work<h2>
The Energetic System:
A New Acting Tool </h2>
<br />
<blockquote class="tr_bq">
<i>"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 </i></blockquote>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiKX_gZ1UzRQYUUcg-_7qoBzrBE-AIZo5ipLu-3eVUXvDeVLM0mR13T6Ga9LyVrZjv2Yds0XwlsCTbzoS2hMJYNxdAYgn1v1LkGtCWzgcBU9uwq4aZudqhjsZo_dNOf5SokqQhroHpvjU/s1600/Image+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiKX_gZ1UzRQYUUcg-_7qoBzrBE-AIZo5ipLu-3eVUXvDeVLM0mR13T6Ga9LyVrZjv2Yds0XwlsCTbzoS2hMJYNxdAYgn1v1LkGtCWzgcBU9uwq4aZudqhjsZo_dNOf5SokqQhroHpvjU/s320/Image+2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Frost © Jean-Pierre Rousset</td></tr>
</tbody></table>
<br />
"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.<br />
<br />
<h3>
What did I discover, and why does energy
awareness matter for an actor? </h3>
<br />
I first discovered that the <b>energetic system is another sense</b> 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.<br />
<br />
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.<br />
<br />
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.”<br />
<br />
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.<br />
<br />
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, <i>Ageless Body, Timeless Mind</i>, 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, <i>The Heart of the Soul</i>,<br />
<blockquote class="tr_bq">
“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.” </blockquote>
<br />
And also,<br />
<blockquote class="tr_bq">
“As energy is processed at different
locations and in different ways, different emotions result.” </blockquote>
<br />
Emotions
affect the energy system in an incredible way, and conversely, the
energy system has an impact on emotions and feelings.<br />
<br />
Finally, I also discovered through my studies of RYSE® with
Nancy Risley that <b>one has conscious control of the energetic system,
and that one can intentionally change its state — or map — by
doing different mental exercises. </b><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s1600/balancingact.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s200/balancingact.jpg" width="133" /></a>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."<br />
<br />
<b><br /></b>
<b>This was an excerpt from the book A BALANCING ACT, by F. E. Chaulet</b><br />
<br />
<b>To read more, get the book today!</b><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-75305637433590993852014-11-19T05:43:00.000-05:002014-11-19T05:43:01.484-05:00Gratitude, Trust and Balance<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtgVPnYQrsg0zPcr9f7xDsGqDdvpeT4oUFYsAkNecsf36MIw1RCuDDGN5oU44RxLDWXu4sgivTeuOJAkOL_aW2qJKo8wUMUpPQzVqEt1Od3zIK3PT9MzGRQZzZOODKLcDGFrqsgYMn1lc/s1600/JPR_5627-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtgVPnYQrsg0zPcr9f7xDsGqDdvpeT4oUFYsAkNecsf36MIw1RCuDDGN5oU44RxLDWXu4sgivTeuOJAkOL_aW2qJKo8wUMUpPQzVqEt1Od3zIK3PT9MzGRQZzZOODKLcDGFrqsgYMn1lc/s1600/JPR_5627-2.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">© Photo Jean-Pierre Rousset</td></tr>
</tbody></table>
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.<br />
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.<br />
<br />
<b><span style="font-size: large;">I give great thanks </span></b>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.<br />
<br />
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.<br />
<br />
<span style="font-size: large;"><b>But sometimes, life calls for Trust</b>! </span>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 <span style="font-size: large;"><b>dare to dream about what you really want</b></span>... 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?<br />
<br />
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.<br />
<br />
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.<br />
<br />
My book <b>A BALANCING ACT</b> is the account of my journey, and of the development of a method to help you actors, <b>reclaim your power, your harmony, your peace while increasing your ability to perform and get in and out of character.</b><br />
<br />
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.<br />
<br />
<br />
Happy Thanksgiving!<br />
<br />
<br />
Emmanuelle <br />
Emmanuelle Chaulet<br />
<br />
Artists coach<br />
<a href="http://www.emmanuellechaulet.com/" target="_blank">www.emmanuellechaulet.com </a><br />
<a href="http://www.coachingdacteurs.com/" target="_blank">www.coachingdacteurs.com </a><br />
<br />
<br />
<h3 style="text-align: center;">
<b><span style="background-color: white;"><span style="color: blue;">============><span style="font-size: small;"> <a href="http://www.amazon.com/gp/offer-listing/097990630X/ref=olp_fsf?ie=UTF8&condition=new&freeShipping=1" target="_blank">To order A BALANCING ACT please click here </a></span><==============</span></span></b></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s1600/balancingact.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s1600/balancingact.jpg" height="200" width="133" /></a><br />
<br />
<br />
<div style="text-align: left;">
<span style="font: 12px "Hiragino Kaku Gothic Pro","ヒラギノ角ゴ Pro W3","Osaka","MS Pゴシック","MS PGothic", sans-serif;">"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.</span><span style="font: 12px "Hiragino Kaku Gothic Pro","ヒラギノ角ゴ Pro W3","Osaka","MS Pゴシック","MS PGothic", sans-serif;"> </span></div>
<div style="text-align: left;">
<span style="font: 12px "Hiragino Kaku Gothic Pro","ヒラギノ角ゴ Pro W3","Osaka","MS Pゴシック","MS PGothic", sans-serif;">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."</span></div>
<div style="text-align: right;">
<span style="font-weight: bold; font-weight: bold; font: 12px HiraKakuPro-W6;">Barbara Sellers-Young<br />York University<br />for Theatre Topics, September 2009 issue</span></div>
<div style="text-align: right;">
<br /></div>
<div style="text-align: left;">
<span style="font-weight: bold; font-weight: bold; font: 12px HiraKakuPro-W6;"><span style="font: 12px "Hiragino Kaku Gothic Pro","ヒラギノ角ゴ Pro W3","Osaka","MS Pゴシック","MS PGothic", sans-serif;">"
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 [ ...</span><span style="font: 12px 'Lucida Grande', LucidaGrande, Verdana, sans-serif;">
</span><span style="font: 12px "Hiragino Kaku Gothic Pro","ヒラギノ角ゴ Pro W3","Osaka","MS Pゴシック","MS PGothic", sans-serif;">]
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."</span></span></div>
<div style="text-align: right;">
<span style="font: 12px 'Lucida Grande', LucidaGrande, Verdana, sans-serif;">
</span><span style="font: 12px "Hiragino Kaku Gothic Pro","ヒラギノ角ゴ Pro W3","Osaka","MS Pゴシック","MS PGothic", sans-serif;"> </span><span style="font-weight: bold; font-weight: bold; font: 12px HiraKakuPro-W6;"> J.J. Cobb, Eastern Connecticut State University <br />for The New England Theatre Journal </span></div>
<div style="text-align: right;">
<br /></div>
<div style="text-align: left;">
<span style="font-weight: bold; font-weight: bold; font: 12px HiraKakuPro-W6;"><span style="font: 12px "Hiragino Kaku Gothic Pro","ヒラギノ角ゴ Pro W3","Osaka","MS Pゴシック","MS PGothic", sans-serif;">"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." </span></span></div>
<div style="text-align: left;">
<span style="font-weight: bold; font-weight: bold; font: 12px HiraKakuPro-W6;"><span style="font: 12px "Hiragino Kaku Gothic Pro","ヒラギノ角ゴ Pro W3","Osaka","MS Pゴシック","MS PGothic", sans-serif;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font: 12px "Hiragino Kaku Gothic Pro","ヒラギノ角ゴ Pro W3","Osaka","MS Pゴシック","MS PGothic", sans-serif;"></span></div>
<div style="text-align: right;">
<span style="font-weight: bold; font-weight: bold; font: 12px HiraKakuPro-W6;">Lisa Dalton, Co-founder, International Michael Chekhov Association, </span><br /><span style="font-weight: bold; font-weight: bold; font: 12px HiraKakuPro-W6;">Award-Winning Actor/Producer/Director and Co-founder and Certifying Board, </span><br /><span style="font-weight: bold; font-weight: bold; font: 12px HiraKakuPro-W6;">National Michael Chekhov Association</span></div>
<div style="text-align: right;">
<span style="font-weight: bold; font-weight: bold; font: 12px HiraKakuPro-W6;"> </span></div>
<div style="text-align: center;">
<h3>
<span style="font-weight: bold; font-weight: bold; font: 12px HiraKakuPro-W6;"><b><span style="background-color: white;"><span style="color: blue;">==================><span style="font-size: small;"> <a href="http://www.amazon.com/gp/offer-listing/097990630X/ref=olp_fsf?ie=UTF8&condition=new&freeShipping=1" target="_blank">To order A BALANCING ACT please click here </a></span><=================</span></span></b></span></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4jTuOY-UHVssc0yVnUTVPoPb83zbBhB7Hlg4F01pg4QN0cMqqiaw51VY-5XXe3megS2r_IOSpxNbGLi7JBMlJcTM9kEZn8GmQVRxKYx24OSMqjGlpc_YObR26GaqImn78LfYyPHgPSO0/s1600/pic7.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4jTuOY-UHVssc0yVnUTVPoPb83zbBhB7Hlg4F01pg4QN0cMqqiaw51VY-5XXe3megS2r_IOSpxNbGLi7JBMlJcTM9kEZn8GmQVRxKYx24OSMqjGlpc_YObR26GaqImn78LfYyPHgPSO0/s1600/pic7.jpg" height="239" width="320" /></a></div>
May 2014 :<br />
<br />
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.<br />
<br />
We spent two wonderful days exploring the various aspect of ENERGIZE, and worked on the many topics outlined in my book <a href="http://www.amazon.com/Balancing-Act-Development-Energize-Holistic/dp/097990630X" target="_blank">A BALANCING ACT.</a><br />
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.<br />
<br />
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.<br />
<br />
Thank you all!<br />
I hope to see you again soon,<br />
<br />
Fondly,<br />
Emmanuelle<br />
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<b>Middlesex Community College, Lowell Mass</b></div>
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<b>ENERGIZE workshop, May 20 & 21, 2014</b></div>
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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. <i>Jemaine
Welch</i></div>
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~</div>
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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. <i>Charlette
Renault-Caragianes</i></div>
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~</div>
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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. <i>Josh
Ray</i></div>
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~</div>
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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. <i>Amin
Gholizadeh</i></div>
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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.</div>
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<i>Molly Flood</i></div>
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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. <i>Amanda Cochrane</i></div>
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~</div>
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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. <i>Anonymous</i></div>
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Fabulous. A very different approach BEFORE the approach even
begins! <i>Anonymous</i></div>
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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. <i>John Bachelder</i></div>
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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! <i>Tyler Armstrong</i></div>
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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. <i>Cookie Dibiase</i></div>
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~</div>
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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! <i>Matthew
Vacher-Weill</i></div>
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The energy work/meditation session really opened up my eyes
to a positive outlook and how powerful this light energy can be. <i>Anonymous</i></div>
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Amazing workshop. I feel so much closure. I was so grateful
to be in your presence. Thank you so much for your time! <i>Patrick MacCorkle</i></div>
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~</div>
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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. <i>Cassandra Milne</i></div>
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I really liked the workshop. Very inspiring. I feel renewed
strong enough to take on my beliefs and my desire. <i>Anonymous</i></div>
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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. <i>Anonymous</i></div>
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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. <i>Kelly Maglio</i></div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-79769963660389426712013-01-17T19:48:00.001-05:002015-10-17T12:58:06.465-04:00 Actor, can you love thyself? <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s1600/balancingact.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s200/balancingact.jpg" width="133" /></a></div>
Excerpt from <a href="http://www.amazon.com/Balancing-Act-Development-Energize-Holistic/dp/097990630X/ref=sr_1_sc_1?ie=UTF8&qid=1322757555&sr=8-1-spell" target="_blank">A BALANCING ACT</a><br />
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<span lang="FR">"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. </span></div>
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<span lang="FR">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. </span></div>
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<span lang="FR">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. <b>These are symptoms of what I call “Post-Performance
Stress Disorder.”</b></span></div>
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<span lang="FR">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.</span></div>
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<span lang="FR">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."</span>
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<span lang="FR">This is an excerpt of the book <a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=G3AEM8FRCWSJU" target="_blank">A BALANCING ACT. Want to read more? </a><a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=G3AEM8FRCWSJU" target="_blank">Click here</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKFmBdxeinETqYARG_2xyWwZNgsgK0dahh5Qy-sbUXmxaV1Nzy0Ioyu8Grbj2TRgls7zoXkZOZQP5nZhaheB-U_qEuv7VDUIACsv3r2AR6HoUY8I7UPKdsC0A9x3q9xnIFOQ8szJvLe98/s1600/09082012-_MG_5597.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKFmBdxeinETqYARG_2xyWwZNgsgK0dahh5Qy-sbUXmxaV1Nzy0Ioyu8Grbj2TRgls7zoXkZOZQP5nZhaheB-U_qEuv7VDUIACsv3r2AR6HoUY8I7UPKdsC0A9x3q9xnIFOQ8szJvLe98/s200/09082012-_MG_5597.jpg" width="133" /></a></div>
<span lang="FR"><b>Emmanuelle Chaulet </b>is an artist's coach in France and internationally by visio conference (SKYPE).</span><br />
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<span lang="FR">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:</span><br />
<span lang="FR"><a href="http://eepurl.com/h3vF6">http://eepurl.com/h3vF6</a></span></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6426467535118421559.post-46574971764444600872012-11-24T21:42:00.001-05:002012-11-24T21:42:41.381-05:00Gifts for Performing Artists<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://gallery.mailchimp.com/f704e92478a4ec635469df212/images/_JPR4887web.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" border="0" height="265" src="http://gallery.mailchimp.com/f704e92478a4ec635469df212/images/_JPR4887web.jpg" style="border-style: none; display: inline; height: 106px; line-height: 100%; margin-top: 0px; max-width: 160px; outline: medium none; padding: 0px; text-decoration: none; width: 160px;" width="400" /></a></div>
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<h3 style="color: #202020; display: block; font-family: Arial; font-size: 26px; font-weight: bold; line-height: 100%; margin-bottom: 10px !important; margin-left: 0 !important; margin-right: 0 !important; margin-top: 0 !important; text-align: left;">
WHERE DID THE SPIRIT OF GIVING GO?</h3>
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.<br />
<br />
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.<br />
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.<br />
<br />
So in this more-than-ever materialistic season, reconnect with the soul spirit of the holidays, the care, love and gratitude.<br />
The Season of Light.<br />
<br />
Take great care of friends, family, and of yourself,<br />
Gift Love,<br />
<br />
Emmanuelle<br />
<br />
<h3 style="color: #202020; display: block; font-family: Arial; font-size: 26px; font-weight: bold; line-height: 100%; margin-bottom: 10px !important; margin-left: 0 !important; margin-right: 0 !important; margin-top: 0 !important; text-align: left;">
Give the gift of career development to a serious performing artist:</h3>
<br />
<h3>
<a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=2A4PJR7XUNGTY" target="_blank">Gift a SKYPE coaching session and career consultation: $50 holiday special</a>
</h3>
For serious actors, musicians and dancers interested in breaking through their blocks:<br />
So, if your artist friend:<br />
<ul>
<li>
battles with self-doubt or stage fright </li>
<li>
feels a resonance with emotional scars that are slowing his or her artistic growth </li>
<li>
has a true creative self yearning to shine within</li>
<li>
doesn't understand what it is, but feels something is blocking him/ her from reaching his/her highest potential</li>
</ul>
<ul>
<li>
knows that a part of them is resisting making progress but doesn't know how to change that</li>
<li>
wants feed back on their career self-marketing and promotion process</li>
<li>
wants true individual attention<a href="mailto:emma@emmanuellechaulet.com?subject=Fall%20Session%20for%20Serious%20Performing%20Artists&body=Please%20send%20me%20more%20information%20on%20your%20program%20and%20call%20me%20at%20........................................for%20my%20FREE%20consultation." style="color: #336699; font-weight: normal; text-decoration: underline;" target="_blank"><strong> </strong></a></li>
</ul>
<a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=2A4PJR7XUNGTY" style="color: #336699; font-weight: normal; text-decoration: underline;" target="_blank"><strong>Then this session is for them!</strong></a><br />
The session can be a choice of Voice Dialogue and Inner Character work,
energy awareness relaxation techniques, or career promotion counseling.<br />
<a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=2A4PJR7XUNGTY" target="_blank"><br /></a><h3>
<span style="font-size: large;"><a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=2A4PJR7XUNGTY" target="_blank"><span><strong></strong></span></a><strong><a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=2A4PJR7XUNGTY" style="color: #336699; font-weight: normal; text-decoration: underline;" target="_blank"><span style="background-color: violet;">BUY A GIFT CERTIFICATE</span></a><span style="background-color: violet;">!</span></strong></span></h3>
<br />
For more information on the packages, go to <a href="http://www.emmanuellechaulet.com/individualsessions/individualsessions.html"></a><a href="http://www.emmanuellechaulet.com/individualsessions/individualsessions.html">http://www.emmanuellechaulet.com/individualsessions/individualsessions.html</a><br />
email: <a href="mailto:emma@emmanuellechaulet.com?subject=Holiday%20Session%20%2450%20Gift%20Certificate%20request" style="color: #336699; font-weight: normal; text-decoration: underline;" target="_blank">emma@emmanuellechaulet.com</a><br />
<br />
Enrollement for Individual sessions packages (6 sessions or more) continues throughout the 2013 year.<br />
<strong>Student rates and discount packages are available.</strong></div>
<div style="color: #505050; font-family: Arial; font-size: 12px; line-height: 150%; text-align: left;">
<strong> </strong></div>
<div style="color: #505050; font-family: Arial; font-size: 12px; line-height: 150%; text-align: left;">
<strong> </strong></div>
<h4 class="h4" style="color: #202020; display: block; font-family: Arial; font-size: 22px; font-weight: bold; line-height: 100%; margin-bottom: 10px !important; margin-left: 0 !important; margin-right: 0 !important; margin-top: 0 !important; margin: 0px 0px 10px ! important; text-align: left;">
<a href="http://www.amazon.com/gp/offer-listing/097990630X/ref=dp_olp_new?ie=UTF8&condition=new" style="clear: left; color: #336699; float: left; font-weight: normal; margin-bottom: 1em; margin-right: 1em; text-decoration: underline;" target="_blank"><img alt="" src="http://gallery.mailchimp.com/f704e92478a4ec635469df212/files/balancingact.1.jpg" style="border: 0px none; display: inline; height: 167px; line-height: 100%; outline: medium none; text-decoration: none; width: 111px;" /></a> Gift the Book!</h4>
<h4 class="h4" style="color: #202020; display: block; font-family: Arial; font-size: 22px; font-weight: bold; line-height: 100%; margin-bottom: 10px !important; margin-left: 0 !important; margin-right: 0 !important; margin-top: 0 !important; text-align: left;">
$25. FREE SHIPPING with AMAZON!</h4>
<a href="http://www.amazon.com/gp/offer-listing/097990630X/ref=dp_olp_new?ie=UTF8&condition=new" style="color: #336699; font-weight: normal; text-decoration: underline;" target="_blank"><span style="font-size: medium;"> </span></a><span style="font-size: medium;"><a href="http://www.amazon.com/Balancing-Act-Development-Energize-Holistic/dp/097990630X/ref=sr_1_sc_1?ie=UTF8&qid=1322757555&sr=8-1-spell" style="color: #336699; font-weight: normal; text-decoration: underline;">A BALANCING ACT </a>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!<br />
<strong> </strong></span><br />
<span style="font-size: medium;"><strong>Signed copies</strong> (at no additional charge) are only available directly with <a href="mailto:energize@starlightacting.org?subject=Signed%20copy%20of%20A%20BALANCING%20ACT&body=I%27d%20like%20to%20order%20a%20signed%20copy%20of%20A%20BALANCING%20ACT.%0APlease%20sign%20it%20for%3A%0A%0AName%3A%20%0A%0AMailing%20Address%3A%0A%0A%0A%0AA%20Paypal%20invoice%20will%20be%20sent%20to%20your%20email%20address.%0A%0AThank%20you%0AStarlight%20Acting%20Books" style="color: #336699; font-weight: normal; text-decoration: underline;">Starlight Acting Books.</a></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-437895684163018382012-10-04T18:56:00.003-04:002012-12-05T20:47:59.497-05:00You know you have talent, so what is blocking you?<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdv8EtbEvU2msS1ieFwZ0Bft2Ibygfxn9sayhbwHSQ8rtem6VTzW6UfWcMN2htEVuc-vXXSJD46UOW715_dwA1YRYvNe47nha_ja66cn7JcNp6WhDOyInpXVNrW-vp8pOjRl-Miojk7YE/s1600/img_5639.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdv8EtbEvU2msS1ieFwZ0Bft2Ibygfxn9sayhbwHSQ8rtem6VTzW6UfWcMN2htEVuc-vXXSJD46UOW715_dwA1YRYvNe47nha_ja66cn7JcNp6WhDOyInpXVNrW-vp8pOjRl-Miojk7YE/s320/img_5639.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">photo by <a href="http://www.nicolasguionnet.com/" target="_blank">nicolas guionnet</a></td></tr>
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<b><span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">You know you have talent, you feel you belong on stage, but a voice inside says; "you can't do it"...</span><span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"> </span></b><b><span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">Who is it? What is this block?</span><span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"> </span></b></h4>
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<span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><b>Read this excerpt of A BALANCING ACT:</b></span><br />
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<blockquote class="tr_bq">
<span class="Apple-style-span" style="font-size: small;">"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. "</span></blockquote>
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<b>The key to stop these voices in your head, is to really spend the time to listen to them...</b> Strange?<br />
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... <a href="mailto:info@emmanuellechaulet.com" target="_blank"><b>T</b></a><b><a href="mailto:info@emmanuellechaulet.com" target="_blank">o get more information on this voice dialogue technique, contact me.</a></b><br />
More info is also available in the book, a great gift for your actor friends, this holiday season.<br />
<a href="http://www.amazon.com/gp/offer-listing/097990630X/ref=dp_olp_0?ie=UTF8&condition=all" target="_blank">FREE SHIPPING with AMAZON </a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJHkc4L365xtYxaEU2m78Jw_nMqs8_2dNtZc44ZZGZGcX0X7qBnaBafoCeJDXcKOx3kaLoRVDHx2D-uoAhdpy_jCnSThevfcbg5qbND6SvlSXVVXA2iNG1rEchxCHLSPd4Ccdr7IlRCk/s1600/09082012-_MG_5618.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJHkc4L365xtYxaEU2m78Jw_nMqs8_2dNtZc44ZZGZGcX0X7qBnaBafoCeJDXcKOx3kaLoRVDHx2D-uoAhdpy_jCnSThevfcbg5qbND6SvlSXVVXA2iNG1rEchxCHLSPd4Ccdr7IlRCk/s200/09082012-_MG_5618.jpg" style="cursor: move;" width="133" /></a><span lang="FR">This is an excerpt of the book<a href="http://www.blogger.com/goog_331051551"> </a><a href="http://www.amazon.com/gp/offer-listing/097990630X/sr=/qid=/ref=olp_sss_new?ie=UTF8&colid=&coliid=&condition=new&me=&qid=&seller=&shipPromoFilter=1&sort=sip&sr=" target="_blank">A BALANCING ACT. </a>page 242. Want to read more? <a href="http://www.amazon.com/gp/offer-listing/097990630X/sr=/qid=/ref=olp_sss_new?ie=UTF8&colid=&coliid=&condition=new&me=&qid=&seller=&shipPromoFilter=1&sort=sip&sr=" target="_blank">Click here</a></span></div>
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<span lang="FR"><b>Emmanuelle Chaulet </b>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.</span></div>
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<span lang="FR">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</span><span lang="FR"> year</span><span lang="FR">.</span></div>
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<a href="http://www.emmanuellechaulet.com/" target="_blank"><span lang="FR"> </span></a><span lang="FR"><a href="http://www.blogger.com/blogger.g?blogID=6426467535118421559" target="_blank">www.emmanuellechaulet.com</a></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-18018848265297827192012-09-28T10:47:00.001-04:002012-10-24T23:05:29.325-04:00Robert Cordier, an extraordinary actors' director, needs your help!<b>Excerpt from the book <a href="http://www.amazon.com/gp/offer-listing/097990630X/ref=dp_olp_new?ie=UTF8&condition=new" target="_blank">A BALANCING ACT</a>:</b><br />
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"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 <a href="http://fr.wikipedia.org/wiki/Robert_Cordier" target="_blank">Robert Cordier</a> (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.</blockquote>
<blockquote class="tr_bq">
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!</blockquote>
<blockquote class="tr_bq">
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.</blockquote>
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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.</blockquote>
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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.</blockquote>
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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.</blockquote>
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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. </blockquote>
<blockquote class="tr_bq">
<b>This was my Lesson #1: Suffering is not necessary to do good work. You can achieve wonderful creative results with love and support."</b></blockquote>
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<span style="font-size: large;">
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. </span></div>
<h4 style="color: #a64d79;">
<span style="font-size: small;"><a href="http://www.petitions24.net/pour_la_reintegration_immediate_de_robert_cordier" target="_blank">http://www.petitions24.net/pour_la_reintegration_immediate_de_robert_cordier </a></span></h4>
<h4 style="color: #a64d79;">
<span style="font-size: small;">
Visit this <a href="http://www.facebook.com/SoutienARobertCordierFondateurDActingInternational" target="_blank">facebook page: to support him</a></span></h4>
<h4 style="color: #a64d79;">
<span style="font-size: small;">
Visit the website: <a href="http://soutienrobertcordier.wix.com/"></a></span></h4>
<a href="http://www.soutienrobertcordier.com/"><span style="color: #0000ee;">http://www.soutienrobertcordier.com/</span></a><br />
<h4 style="color: #a64d79;">
<span style="font-size: small;">English translation of the petition: </span><style><!--
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<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span class="hps"><span lang="EN" style="font-family: Times; font-size: 10.0pt; mso-ansi-language: EN;">For</span></span><span lang="EN" style="font-family: Times; font-size: 10pt;"> <span class="hps">the immediate reinstatement of</span> <span class="hps">Robert</span> <span class="hps">Cordier!</span></span></blockquote>
<span lang="EN" style="font-family: Times; font-size: 10pt;">
<br />
<span class="hps">This summer</span> <span class="hps">2012,</span> <span class="hps">Robert</span> <span class="hps">Cordier</span>, founder of <span class="hps">the school Acting</span> </span><span lang="EN" style="font-family: Times; font-size: 10.0pt; mso-ansi-language: EN;"><span class="hps">International</span></span><span lang="EN" style="font-family: Times; font-size: 10.0pt; mso-ansi-language: EN;">,
<span class="hps">has been</span> <span class="hps">unceremoniously</span> <span class="hps">excluded</span> <span class="hps">from school</span> <span class="hps">he
had</span> <span class="hps">established.</span><br />
<br />
<span class="hps">We condemn</span> <span class="hps">the eviction</span> <span class="hps">of a man</span>, Robert <span class="hps">Cordier,</span> <span class="hps">armed with a</span> <span class="hps">rich experience</span> <span class="hps">for all of us</span> <span class="hps">and whose love</span> <span class="hps">of art and</span> <span class="hpsalt-edited">teachings</span> <span class="hpsalt-edited">don't need</span> <span class="hpsalt-edited">to be proven,</span>
<span class="hpsalt-edited">and we refuse to</span> <span class="hpsalt-edited">accept</span>
<span class="hps">the</span> <span class="hpsalt-edited">mercantile and moneymaking</span>
<span class="hpsalt-edited">philosophy</span> <span class="hps">that</span> <span class="hps">may take</span> <span class="hps">the direction of the</span> <span class="hps">school!</span> <span class="hps">The forced departure of</span> <span class="hps">Robert</span> <span class="hps">Cordier</span> <span class="hpsalt-edited">announces for</span> <span class="hps">us</span> <span class="hpsalt-edited">detrimental</span> <span class="hpsalt-edited">changes</span>
<span class="hpsalt-edited">to the foundation of the</span> <span class="hps">school</span>
<span class="hpsalt-edited">which were</span> <span class="hps">the basis of</span>
<span class="hpsalt-edited">its</span> <span class="hps">reputation</span>:<br />
<br />
<span class="hps">"The teaching concept</span> <span class="hps">of</span> <span class="hps">Acting International</span>, unique <span class="hps">in its
completeness</span> <span class="hps">and innovative approach,</span> <span class="hps">has been developed</span> <span class="hps">there</span> <span class="hps">over</span> <span class="hps">thirty years ago by</span> <span class="hps">the founder of the</span> <span class="hps">school,</span> <span class="hps">teacher,</span> <span class="hps">director</span>, producer and <span class="hps">writer</span> <span class="hps">Robert</span> <span class="hps">Cordier.</span>
<span class="hps">This educational activity</span> <span class="hps">and</span> <span class="hps">creation,</span> with <span class="hps">proven methods</span>, <span class="hps">constantly redefines itself</span> <span class="hps">through</span> <span class="hps">interaction and</span> organic <span class="hps">confrontation</span>
of <span class="hps">complementary knowledge,–</span><span class="hps">in</span> <span class="hps">their intersection</span> <span class="hps">in the</span> <span class="hps">schedule– </span>of <span class="hps">a team of</span> <span class="hps">renowned
masters</span> <span class="hps">- French,</span> <span class="hps">Russian,
American</span>, English, Italian <span class="hps">- which are</span> <span class="hps">all professional artists</span><span class="hps">.</span><br />
<span class="hps">Acting International</span> <span class="hps">provides training</span>
<span class="hps">to strengthen</span> <span class="hps">the creative potential as
well as the</span> <span class="hps">artistic and human</span> <span class="hps">individuality</span>
<span class="hps">of each student.</span> <span class="hps">At</span> <span class="hps">Acting</span> <span class="hps">International,</span> <span class="hps">the
primacy</span> <span class="hps">is placed on</span> <span class="hps">the actor,</span>
<span class="hps">through whom the scenic interpretation is</span> <span class="hps">realized.</span> <span class="hpsatn">"</span><br />
<br />
<span class="hps">We are for the</span> <span class="hps">immediate and
unconditional</span> <span class="hps">reinstatement</span> <span class="hps">of</span>
<span class="hps">Robert</span> <span class="hps">Cordier</span> <span class="hps">at</span>
<span class="hps">Acting International</span>.<br />
<br />
<span class="hps">For the maintenance of</span> <span class="hps">all teachers</span>
<span class="hps">from the previous year</span> <span class="hps">who want to stay</span>
<span class="hps">and continue to give</span> <span class="hps">the school its</span>
<span class="hps">guarantee of quality</span>.<br />
<br />
<span class="hps">So that Acting</span> <span class="hps">International</span> <span class="hps">remains a</span> <span class="hps">quality school</span>!</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s1600/balancingact.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s200/balancingact.jpg" width="133" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJHkc4L365xtYxaEU2m78Jw_nMqs8_2dNtZc44ZZGZGcX0X7qBnaBafoCeJDXcKOx3kaLoRVDHx2D-uoAhdpy_jCnSThevfcbg5qbND6SvlSXVVXA2iNG1rEchxCHLSPd4Ccdr7IlRCk/s1600/09082012-_MG_5618.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJHkc4L365xtYxaEU2m78Jw_nMqs8_2dNtZc44ZZGZGcX0X7qBnaBafoCeJDXcKOx3kaLoRVDHx2D-uoAhdpy_jCnSThevfcbg5qbND6SvlSXVVXA2iNG1rEchxCHLSPd4Ccdr7IlRCk/s200/09082012-_MG_5618.jpg" width="133" /></a><span lang="FR">Above is an excerpt of the book<a href="http://www.blogger.com/goog_331051551"> </a><a href="http://www.amazon.com/gp/offer-listing/097990630X/sr=/qid=/ref=olp_sss_new?ie=UTF8&colid=&coliid=&condition=new&me=&qid=&seller=&shipPromoFilter=1&sort=sip&sr=" target="_blank">A BALANCING ACT. </a> Want to read more? <a href="http://www.amazon.com/gp/offer-listing/097990630X/sr=/qid=/ref=olp_sss_new?ie=UTF8&colid=&coliid=&condition=new&me=&qid=&seller=&shipPromoFilter=1&sort=sip&sr=" target="_blank">Click here</a></span></div>
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<span lang="FR"><b>Emmanuelle Chaulet </b>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.</span></div>
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<span lang="FR">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</span><span lang="FR"> year</span><span lang="FR">.</span></div>
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<a href="http://www.emmanuellechaulet.com/"></a><a href="http://www.emmanuellechaulet.com/" target="_blank">www.emmanuellechaulet.com</a><br />
<span lang="FR"><br /></span>
<span lang="FR">IN FRENCH: <a href="http://www.fr.emmanuellechaulet.com/" target="_blank">http://www.fr.emmanuellechaulet.com</a><a href="http://www.fr.emmanuellechaulet.com%20/" target="_blank"> </a></span></div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-63555637843079468682012-09-08T15:25:00.000-04:002012-09-08T15:25:50.573-04:00How do you shine at castings and auditions?<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMHYLhW04LltxSty0woLUzgG4kjrxtnK1Syd9ARk8Isdtdtt6wAdk2QsfP67wbmDttBuIV8OLxLLYYQfhct9rpi9I6bpYXv8zWxuNv38rp3QXOzRUgihyphenhyphenoyHTst00R1xqkeezMBbz6SsQ/s1600/Stage_Lights-975x436.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="142" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMHYLhW04LltxSty0woLUzgG4kjrxtnK1Syd9ARk8Isdtdtt6wAdk2QsfP67wbmDttBuIV8OLxLLYYQfhct9rpi9I6bpYXv8zWxuNv38rp3QXOzRUgihyphenhyphenoyHTst00R1xqkeezMBbz6SsQ/s320/Stage_Lights-975x436.jpg" width="320" /></a></div>
<span style="font-size: large;">How do you develop stage presence and charisma? Walk in an audition and blow them away? Make them remember you? Incite them to call you back?</span><br />
<br />
Maybe it is not just about your technical ability, but more about your energy.... Read on this excerpt of <a href="http://www.amazon.com/gp/offer-listing/097990630X/sr=/qid=/ref=olp_sss_new?ie=UTF8&colid=&coliid=&condition=new&me=&qid=&seller=&shipPromoFilter=1&sort=sip&sr=" target="_blank">A BALANCING ACT</a><br />
<br />
<br />
<blockquote class="tr_bq" style="font-family: inherit;">
<span style="font-size: small;">"At castings and auditions, you need to radiate and shine. You need to exude power, charisma, and attraction. You need to make them want you, and only you. What better way than relaxing with energetic clearing and getting rid of all tension and frazzled energy? What better way than working on your aura and clearing your chakras and your entire energetic system so that you light up like a star? Clear all negative energy to attract abundance and sparkles from the source of all there is. Clear the casting room with energy projections to make it support your audition. Accelerate the spinning of your Flower of Life so that your vibrational rate increases and elevates, attracting what supports you and what’s yours to do. Hold your power and your will center to show your true strength. Release all expectations from your energetic system, so that you can perform freely and to the best of your ability. Open the best vessel of your sub-personalities to fit the character, and connect with the essence of that character, using your vibrational sense.</span><br />
<span style="font-size: small;">Finally, what better way than visualizing all what you can be and acting with your highest potential, your Highest Creative Self, your Highest Acting Self?</span><br />
<span style="font-size: small;">Afterwards, clear yourself of negativity, jealousy and competitive energies that could still be present. Clear yourself of rejection, self-deprecation and self-criticism and refocus on self-love, self-appreciation, acceptance and joy. You won’t get all the roles. But if you follow the technique, you’ll get the roles you are meant to play, and will let go of the ones you are not meant to do. Energize is a powerful technique for auditioning, it will put you ahead of the game and show your many colors and charisma, while protecting you from painful downfalls afterwards. "</span></blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s1600/balancingact.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s200/balancingact.jpg" width="133" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJHkc4L365xtYxaEU2m78Jw_nMqs8_2dNtZc44ZZGZGcX0X7qBnaBafoCeJDXcKOx3kaLoRVDHx2D-uoAhdpy_jCnSThevfcbg5qbND6SvlSXVVXA2iNG1rEchxCHLSPd4Ccdr7IlRCk/s1600/09082012-_MG_5618.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJHkc4L365xtYxaEU2m78Jw_nMqs8_2dNtZc44ZZGZGcX0X7qBnaBafoCeJDXcKOx3kaLoRVDHx2D-uoAhdpy_jCnSThevfcbg5qbND6SvlSXVVXA2iNG1rEchxCHLSPd4Ccdr7IlRCk/s200/09082012-_MG_5618.jpg" width="133" /></a><span lang="FR">This is an excerpt of the book<a href="http://www.blogger.com/goog_331051551"> </a><a href="http://www.amazon.com/gp/offer-listing/097990630X/sr=/qid=/ref=olp_sss_new?ie=UTF8&colid=&coliid=&condition=new&me=&qid=&seller=&shipPromoFilter=1&sort=sip&sr=" target="_blank">A BALANCING ACT. </a>page 242. Want to read more? <a href="http://www.amazon.com/gp/offer-listing/097990630X/sr=/qid=/ref=olp_sss_new?ie=UTF8&colid=&coliid=&condition=new&me=&qid=&seller=&shipPromoFilter=1&sort=sip&sr=" target="_blank">Click here</a></span></div>
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<span lang="FR"><b>Emmanuelle Chaulet </b>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.</span></div>
<div class="MsoNormal">
<span lang="FR">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</span><span lang="FR"> year</span><span lang="FR">.</span></div>
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<a href="http://www.emmanuellechaulet.com/" target="_blank"><span lang="FR"> </span></a><span lang="FR"><a href="http://www.blogger.com/blogger.g?blogID=6426467535118421559" target="_blank">www.emmanuellechaulet.com </a></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-28978869072420664232012-08-20T19:46:00.001-04:002012-08-20T19:46:47.907-04:00Is your character giving you space?<style> <!--
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKFmBdxeinETqYARG_2xyWwZNgsgK0dahh5Qy-sbUXmxaV1Nzy0Ioyu8Grbj2TRgls7zoXkZOZQP5nZhaheB-U_qEuv7VDUIACsv3r2AR6HoUY8I7UPKdsC0A9x3q9xnIFOQ8szJvLe98/s1600/09082012-_MG_5597.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKFmBdxeinETqYARG_2xyWwZNgsgK0dahh5Qy-sbUXmxaV1Nzy0Ioyu8Grbj2TRgls7zoXkZOZQP5nZhaheB-U_qEuv7VDUIACsv3r2AR6HoUY8I7UPKdsC0A9x3q9xnIFOQ8szJvLe98/s200/09082012-_MG_5597.jpg" width="133" /></a></div>
<span style="font-size: large;">The Character is IN today... but how far? And do you -the actor- feel you still have space? </span></div>
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<span style="font-size: small;">Read this excerpt of <a href="http://www.amazon.com/Balancing-Act-Development-Energize-Holistic/dp/097990630X/ref=sr_1_sc_1?ie=UTF8&qid=1322757555&sr=8-1-spell" target="_blank">A BALANCING ACT</a> about </span><span style="font-size: large;">Personal space and dual consciousness</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s1600/balancingact.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s200/balancingact.jpg" width="133" /></a></div>
As in all relationships, the question of personal space
arises in performing a stage character. “ I need more space,” says a lover who feels overwhelmed by your
affection. When the energy of the character comes into the actor’s container,
there is often a first stage when the actor doesn’t let it go down far enough.
Too often I see it stopping at the shoulders. Regularly, I see actors only in
character with their torso, while the second half of their body is still like
their good old selves. This common mistake happens because actors are afraid of
the new energy coming in. There is a sense of loosing one’s own private space
in one’s body, and being “invaded.” Yet, it is part of the process of being an
actor to lend your own body to the expression of another personality. That is
why I always encourage actors to fill their entire container with the energy of
the character. Since we will later rebalance safely at the end of the show, it
becomes easier for them to let the energy “invade” them, or more exactly, fill
them in. Sending the energy of the character all the way into the feet is also
very important, as it helps embody the walk as well as the head movements. The
energy needs to flow though the entire body – the neck, arms, tips of the
fingers, torso, hips, legs, and soles of the feet. Actors need to pay attention
to this throughout the performance. They need to let the energy move through
them and continue breathing! Performers who are often afraid of the presence of
this unknown energy in their body will stop breathing fully. Regulating the
breath is a powerful way to help the energy circulate in the entire body and
the blood stream. </div>
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Sometimes the energy of the character will leave the body a
little and appear as if floating on the side of the actor, or above his head.
In this case, the character only appears “on and off.” It is as if you were
turning on a light and turning it off again. The light will seem intermittently
interrupted, and while you’ll still be able to see, there will be a certain
sense of discomfort and uneasiness for the viewer. It is important for the
actor to be aware of that and to bring the energy back with a strong pull, and
then send it all the way to the feet and the tips of the fingers again. The
goal of the actor is to have a smooth, regular and deep manifestation of the
energy of the character. I advise to be very aware of this very frequent issue,
and each time the performer notices that the energy is off, to consciously and
firmly pull it back. Doing this over and over will help
with the incarnation of the character.</div>
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With practice, actors will start perceiving when they are
fully in the character’s vibration, only half way, on and off, or not at all.
There is a clear perception that comes with being at another level of vibration
when “the character is in.” It is a very distinct feeling, different from being
yourself. Noticing all these differences and nuances, voluntarily bringing the
energy back and sending it to the feet and fingers, is crucial to the
successful completion of the embodiment. </div>
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As with all new and unknown situations, normal anxiety can
accompany this process. It is sometimes frightening, and justly so, to become
someone else, to lose one’s own identity, feel oneself change vibration, feel
the voice change to a different register, and to even feel the muscles of the
face respond to that change and involuntarily adjust to a foreign mask.
Performers need to be very solid and very grounded to let this happen to their
container. Breathing deeply and fully, pushing the diaphragm down toward the
feet, tremendously helps control this anxiety. As an actor will bring in an
outer personality and alter his own, his entire energetic system will be
affected by the change. His aura, chakras, Flower of Life, and entire blueprint
will reflect the new imaginary host and take his or her shape. As if he were a
shape shifter from shamanic cultures, the actor will let this happen while
completely conscious and remaining in control. A part of his subconscious must
always be aware. This part is the spiritual head, the inner voice that is the
true leader, the chief, the protector, the inner actor, the Higher Creative
Self. During a performance, the actor will let the character lead, giving him
his personal inner space to inhabit. However, he must always remain ready to
take control back again. It is what is called a state of “dual consciousness,”
a concept at the heart of Stanislavski’s work. Dual consciousness is a state of
mind that allows the actor to be aware while at the same time totally immersed
in the personality of the character. It is a partnership dance between the
actor and the character, one leading the other. In this state of being, the
actor can still control and let go at the same time; he can lead and also be
led. It is a pilot/copilot team, a walk arm in arm, a tandem. A delicate
balance of leadership is required to keep the truth of the character’s
incarnation. Most of the time, the actor needs to withdraw and leave space for
the character, letting him or her take first place in the limelight, allowing
him or her to take over.</div>
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<br /></div>
<div class="MsoNormal">
<span lang="FR">This is an excerpt of the book<a href="http://www.blogger.com/goog_331051551"> </a><a href="http://www.amazon.com/Balancing-Act-Development-Energize-Holistic/dp/097990630X/ref=sr_1_sc_1?ie=UTF8&qid=1322757555&sr=8-1-spell" target="_blank">A BALANCING ACT. </a>Want to read more? <a href="http://www.amazon.com/Balancing-Act-Development-Energize-Holistic/dp/097990630X/ref=sr_1_sc_1?ie=UTF8&qid=1322757555&sr=8-1-spell" target="_blank">Click here</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw_hbicTtmT2cwwVKOTU6j-1QkyzMvSm8i9NMZpkFE1ZgARxnJwvALW2hDzmMbWdTU5MQBMHCeZRt_XP2X0LXre9gtMc9S4VP4FQeR7NJujfxckSz6YBaS0Mx-s-aY6mpIW9M8ZCq0Oyw/s1600/_JPR0079web.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw_hbicTtmT2cwwVKOTU6j-1QkyzMvSm8i9NMZpkFE1ZgARxnJwvALW2hDzmMbWdTU5MQBMHCeZRt_XP2X0LXre9gtMc9S4VP4FQeR7NJujfxckSz6YBaS0Mx-s-aY6mpIW9M8ZCq0Oyw/s200/_JPR0079web.jpg" width="200" /></a></div>
<div class="MsoNormal">
<span lang="FR"><b>Emmanuelle Chaulet </b>is an artist's coach and Lecturer in Theatre at the University of Southern Maine.</span></div>
<div class="MsoNormal">
<span lang="FR">She works in the USA during the year and in France during the summer months. She coaches performers privately all year.</span></div>
<div class="MsoNormal">
<span lang="FR"> <a href="http://www.emmanuellechaulet.com%20/" target="_blank">www.emmanuellechaulet.com </a></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-85184704953384893062012-08-05T07:05:00.000-04:002012-08-05T09:57:42.622-04:00Actors are Athletes of the Emotion<br />
<div class="separator" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;">
<img alt="" border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihtC5YaB2vx5sLEiMhlqq-v2EJPC8WuE8uWrug1IBizr2VmWFSlVsM9N5bJxNLjRaDCSH-_-qwSEOG_rbBYA5_8EZtCoDFgpTBa7ZdHbQrRhR_krkXtL5moYk_zQ7JwrNThDT-2zBss2s/s200/natation-finale-4x200m-jo-de-londres-2012.jpg" title="" width="200" /></div>
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<br />
As we are watching the best world athletes compete at the London Olympic Games, we are reminded that actors too, are athletes and should follow the same rigorous preparation. They are a different type of athletes, yet they should give the same kind of attention to their body, their mental state and their emotional preparation before and after performance. After all their body, mind and spirit are their unique instrument...<br />
<br />
<a href="http://www.amazon.com/Balancing-Act-Development-Energize-Holistic/dp/097990630X/ref=sr_1_sc_1?ie=UTF8&qid=1322757555&sr=8-1-spell" target="_blank"> Excerpt of A BALANCING ACT by Emmanuelle Chaulet © 2008-12</a><br />
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<h2 class="MsoNormal">
<b><span lang="FR">Athletes and stuntmen</span></b></h2>
<div class="MsoNormal">
<span lang="FR">Performers are like athletes. They have
tremendous pressure put on their body, on their psyche, and on their souls
every day. They cannot leave the job, go home and forget about it. Most often,
it follows them around for days and weeks. The schizophrenia of being two, the
character and you, can often lead to instability. Whether active or dormant,
the character is always in the background. Since they are not being given the
proper training to learn how to tame this intense relationship, actors let
themselves go along a slope where alcohol, drugs and sex are easy fixes to an
inner emotional and energetic imbalance. The media, of course, immediately
jumps on this situation and exhibits their lives and mistakes to the public,
like gladiators were thrown to the lions. Being exposed like this when they are
so fragile and vulnerable is recipe for disaster. After doing their intense
emotional stunts, actors are left alone to recover with no one coming to help
them, but on the contrary, with rude paparazzi trying to grasp as much pain and
despair they can find to plaster the tabloids. They dig the dirt and drag
actors in shame destroying what is left of their delicate self-esteem. At the
very moment when actors would need to regroup, re-center, recharge and be alone,
they are sent to public appearances, cocktail parties and TV shows. These
constant ups and downs are exhausting and taxing. Without proper emotional
management and energetic clearings, actors often fall into the traps of stress
and burnout, and spiral downward. Olympic athletes know this well: in order to
succeed and last, they have to rest between the games and competitions, they
have to eat well, sleep well, and recharge. They are specifically trained for
mental endurance and persistence, as much as taught to develop their physical
abilities. They do visualization, sophrology, and relaxation. They get
nutritional counseling and motivational support. They are coached to manage
their sleep and rest time to reach an ultimate performance. Conversely, actors are
simply left to themselves with absolutely no help, no guidance or even classes
on this subject. Open, vulnerable, naive, and a bit narcissistic, they live
like children in a world of imagination, and seek to be loved. Unfortunately,
they often find the wrong friends to support them. Attracted by the brilliance
of their charismatic personalities, many admirers and fans are in fact energy
takers, and instead of supporting actors, take advantage of them and of their
fragility. Led early on to a life of partying and drinking, which often starts
at the college level, actors –who are starving for this sense of closeness and
warmth, this illusionary family-like atmosphere – quickly let themselves go to
excessive, sometimes manic behavior. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="FR">In reality, actors are fragile artists who
need strong support and strict discipline to manage their ever-flying emotions.
Like gymnasts, dancers or musicians, they should follow a daily routine to
nurture and care for not only their bodies, but also their minds and spirits. [This book gives] some ideas and directions, which I firmly believe are the most important
aspect of the Energize technique. This is where the ultimate strength of an
actor will lie: in his capacity to maintain a healthy, self-controlled,
harmonious and balanced lifestyle. It is only then that he will be able to
reach his highest potential as an artist and a performer and, moreover, that he
will be able to last for a long career. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="FR">This is an excerpt of the book <a href="http://www.amazon.com/Balancing-Act-Development-Energize-Holistic/dp/097990630X/ref=sr_1_sc_1?ie=UTF8&qid=1322757555&sr=8-1-spell" target="_blank">A BALANCING ACT. </a>Want to read more? <a href="http://www.amazon.com/Balancing-Act-Development-Energize-Holistic/dp/097990630X/ref=sr_1_sc_1?ie=UTF8&qid=1322757555&sr=8-1-spell" target="_blank">Click here</a></span></div>
<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw_hbicTtmT2cwwVKOTU6j-1QkyzMvSm8i9NMZpkFE1ZgARxnJwvALW2hDzmMbWdTU5MQBMHCeZRt_XP2X0LXre9gtMc9S4VP4FQeR7NJujfxckSz6YBaS0Mx-s-aY6mpIW9M8ZCq0Oyw/s1600/_JPR0079web.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw_hbicTtmT2cwwVKOTU6j-1QkyzMvSm8i9NMZpkFE1ZgARxnJwvALW2hDzmMbWdTU5MQBMHCeZRt_XP2X0LXre9gtMc9S4VP4FQeR7NJujfxckSz6YBaS0Mx-s-aY6mpIW9M8ZCq0Oyw/s200/_JPR0079web.jpg" width="200" /></a></div>
<div class="MsoNormal">
<span lang="FR"><b>Emmanuelle Chaulet </b>is an artist's coach and Lecturer in Theatre at the University of Southern Maine.</span></div>
<div class="MsoNormal">
<span lang="FR">She works in the USA during the year and in France during the summer months.</span></div>
<div class="MsoNormal">
<span lang="FR"><a href="http://www.emmanuellechaulet.com/" target="_blank">www.emmanuellechaulet.com </a></span></div>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-6426467535118421559.post-78516468060833023162012-07-14T09:54:00.000-04:002012-07-14T09:55:17.115-04:00Finding the Character's Blueprint<br />
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<h2>
Character’s blueprint</h2>
<i>from the book <a href="http://www.amazon.com/Balancing-Act-Development-Energize-Holistic/dp/097990630X/ref=sr_1_sc_1?ie=UTF8&qid=1322757555&sr=8-1-spell">A BALANCING ACT</a>, by Emmanuelle Chaulet</i><br />
<br />
Michael Chekhov has a terrific exercise called “Creating the Imaginary Body” of the character. Connecting to the character’s blueprint is a version of it, with a little adjustment.
With their eyes open, actors are invited to sculpt and create the body and features of their characters in front of them. Again using their five senses, they are invited to touch, smell, feel, and look at the character they will perform. When they have a clear vision and sensation, I ask them to either step into the imaginary body of the character or (what I personally prefer) let the character come over them like an invisible mantle, or second skin. We then explore feeling the vibration of the character, its blueprint. The actor should then ask, What kind of frequency does the energy of this character have? What kind of heart rate does he or she have? At what rate are the cells of this person vibrating?<br />
<br />
The perception of the energetic frequency of an imaginary character is very real. A character’s vibration is invariably different from the personal one of an actor, and will give a very tangible feeling. Like a radio emits waves, our bodies emit a certain frequency of a bioenergetic field. Imaginary characters are the result of the thought patterns and imagination of the author and playwright, the actors who have performed them, previous and current directors, dramaturges, stage managers, marketing directors, and all of those involved in the production. This vibration or frequency is a mass of energy charged by all these thought forms. It is what we call a blueprint.<br />
<br />
Each character, each human being has its own, as individual as a set of fingerprints. Historical figures have even stronger and more defined blueprints because they actually existed. Therefore, the frequency of their energy is extremely precise. Archetypal imaginary characters have a very intense aura of vibration even as you merely pronounce their names: Hamlet, Ophelia, Phaedra, Oedipus, Iago, Stanley Kowalsky, Blanche Dubois. These roles carry with them a background of very powerful energies. They are vibrant with the imprint from past actors who played them and from the imagination of the author. They each form a distinct individual energetic mass. An actor can easily tap into this vibration and connect with it in an energetic way. The vibration will show him the movement, rhythm, intonations, tones of voice, and posture without going through any intellectual process.<br />
However, to tap into this vibration, it is vital that actors utilize their usual research process. I am an advocate of doing research on the time period, place, social context, health issues, historic background, etc. This research will, of course, fuel any organic understanding. Yet, the work on stage should be more impulsive, moment-to-moment, and less intellectualized. After all the research is done and assimilated, one must throw it to the universe and just play. This is what I suggest with the concept of “tapping into the character’s vibration.” After creating the character with your imagination, having researched its history, and with the information from the script, it is crucial to make the work organic by feeling the character not only with the five senses, but also with the energetic system. The actor must connect organically instead of processing things only intellectually. Too often do I see very intelligent actors get in their own way because they are staying in the intellectual understanding of the role, not transcending it and feeling it organically. By using the vibration and the energetic sensory tools, one can shortcut the process and work with one’s instinct. Only then does it become a fusional process, during which the actor starts wearing the character’s energetic blueprint, like a chameleon.
Here is what one actor has to say about this process:<br />
<br />
<div style="text-align: justify;">
<i>If a writer is drawing from personal experience, which we’re taught is good writing, even though the characters are figments of the writer’s imagination, they are undoubtedly drawing from real, personal interaction with people. Therefore, doesn’t that make the character on the page human? I think Energize can help one come to that conclusion. Once you do that, you stop thinking of acting as an illusion, and start thinking of it more as … what’s the word … an embodiment. You start thinking about embodying a character, rather than creating the illusion of a character. You start thinking about living a character instead of changing yourself or creating a façade. When you draw on a character like Hamlet, who’s been played by thousands of real people since the play’s inception, you’re drawing on those real people’s experiences. When you draw on a character, you’re drawing on an essence that has been explored by everybody. So there is something tangible out there in the universe; there is a Hamlet. We know, we have an idea; I think people have an idea of Hamlet as you draw it into you.
</i> </div>
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- Michael T. Toth, actor & participant in an Energize workshop and production</div>
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<div style="font-family: Georgia,"Times New Roman",serif; text-align: left;">
<span style="font-size: small;">This excerpt is from <u><b><a href="http://www.amazon.com/Balancing-Act-Development-Energize-Holistic/dp/097990630X/ref=sr_1_sc_1?ie=UTF8&qid=1322757555&sr=8-1-spell" target="_blank">A BALANCING ACT, the development of Energize a holistic approach to acting</a> </b></u>by Emmanuelle Chaulet, Lecturer in Theatre at the University of Southern Maine.</span></div>
<div style="text-align: left;">
<span style="font-family: Georgia,"Times New Roman",serif; font-size: small;">For more information on Emmanuelle Chaulet's individual coaching and group workshops, please visit <a href="http://www.emmanuellechaulet.com/"></a><a href="http://www.emmanuellechaulet.com/" target="_blank">www.emmanuellechaulet.com</a></span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-90883267070697291252012-05-22T07:28:00.000-04:002012-05-22T14:24:01.245-04:00Collin Chute, talks about playing Eric Harris, in "THE COLOMBINE PROJECT" and using the ENERGIZE method:<div class="separator" style="clear: both; text-align: center;">
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<b>Emmanuelle Chaulet:</b> Hi Collin, it's such a pleasure to interview you. We had met at VCU (Virginia Commonwealth University) when I taught there a week-long workshop about my book <a href="http://amzn.to/t7ow5F" target="_blank">A BALANCING ACT</a>. You just closed the show<a href="http://www.nohoartsdistrict.com/index.php/theatre-guide/the-columbine-project"> The Columbine Project</a> which played to sold-out audiences at the Avery Schreiber Theatre in North Hollywood. It is such an amazing project which raises awareness to school shootings. You had a very demanding role as Eric Harris one of the two school shooters, and mentioned you used the ENERGIZE work I teach for this role. Tell us a little bit about the project, the play and how you got cast for the role:<br />
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<b>Collin Chute: </b>I moved to LA from Virginia this past January and shortly after signed with Ryan Glasgow and Bohemia Group. I had met him in much thanks to VCU and the Actor's Connection the previous year. He told me about an audition for a play called "<i>The Columbine Project</i>." I was intrigued because of the power of the subject and knew this was a story that needed to be told, re-told from different angles. The script was non linear including multiple perspectives from teachers, students, parents, and the shooters themselves. When I auditioned for Eric Harris, one of the two shooters I had this long swooping hair which I would later shave. When I walked in the writer/director Paul Storiale whispered to the assistant director Bree Pavey, "Why is Justin Bieber auditioning for this? Is Ryan (my manager) out of his mind?" I threw on a backwards hat, took a few seconds to conjure Eric's energy, did this creepy monologue and completely changed their minds, haha. <br />
<br />
<b>How did you reconcile liking your character with what he did?</b><br />
<br />
<b>Collin: </b>I think an actor can't judge their characters or they have already lost the battle. I did lots and lots of research and realized that Eric Harris was just a high school kid like everyone else except for maybe a few odd tweaks in his head, combined with some of the people he was around, and his environmental circumstance, leading to an awful end. Eric was indeed a sociopath, but I couldn't help but think what if I was born in his situation with his genetic make up? How would I behave? I certainly don't condone anything he did, but I could piece together where his anger evolved from. From there I think it just snowballed and became out I control. I still have a difficult time thinking about how he actually pulled the trigger. <br />
<br />
<b>What was the most difficult aspect of the role?</b><br />
<br />
<b>Collin:</b> The hardest part of this role was to show that Eric wasn't just a monster, he was a human being who lost it, and made some terrible choices. Playing a villain can be easy because they are often reduced to being one dimensional, but this was a non-fictional complex human being that I had to bring justice to. He didn't just lose it in one day. <br />
One of my favorite scenes in the play Eric is flirting with a girl, talking, just being a normal teenage boy, talking about maybe taking a trip after graduating to Costa Rica. Costs Rica was the first country outside of the US I had visited, and I've been there several times because my mom takes yoga retreats there, and it just struck a chord with me that connected Eric and I. I felt so much empathy for him while reading that scene because I knew he was so close to just living a regular life. That made it easy for me to embrace the role, but made the challenge of giving him an honest portrayal so much more difficult. <br />
After one of the shows we had a talk back and an audience member thanked me for playing the role with no judgment, and that was the highest complement I could have received. <br />
<br />
<b>Did you find that the energy of this character would sometimes take over, and if so, what did you do to deal with it and regain control?</b><br />
<br />
<b>Collin:</b> When I took on "The Columbine Project" as Eric Harris I knew I was going
to have to go to a very dark, dark place to get there, and I would have
to go all the way to the bottom because this was a story that needed to
be witnessed through truth. My first thought was you and
the training I had received through your workshops at VCU. I knew that I
had to be safe going in and out of a character like this and you
gave me that power by physically visualizing my character's energy,
giving it a color and bringing it into my body. Not only does this
achieve a safe entry into a character like Eric Harris, it provided me
focus and a complete comfort knowing I was always Eric while that energy
was in me. Doing this dissipated any nervousness converting it into
focused energy. <br />
<br />
After collecting all my research and analyzing the script, the energy of my character became my top priority. I had to find Eric Harris' energy, which was absolutely frightening. Through the natural process of rehearsal, research, journal writing, and meditating I found Eric's energy and used your teachings to harness that energy with a color, bringing it into my 7 chakras. <br />
<br />
Leaving this character at the end of each show was a must in order to
remain mentally healthy. <br />
Through this particular energy, there was incredible power and confidence to be found within the craziness. That power was absolutely addicting and I had to use your technique to safely release that energy after every rehearsal and show or I would have been walking around like a nut, haha. In fact there was one day when I didn't release that energy for whatever reason, forgot about it, and I felt completely overwhelmed with life to the point where I began to cry. It's a little embarrassing to say, but it's a testament to how important it is to step out of character. Which I soon did, once I realized what was happening, haha. I released the energy, and brought in new pure white light which instantly calmed me. Visualizing Eric's energy as black with grey
speckles and a touch of white I took my time releasing that through my
body. After all of Eric's energy was drawn out of me, I cleansed my
energy system by bringing in a pure light, allowing me to become fully
present as myself.<br />
I'm grateful for that day because I will never go without using your technique again, because it is so vital to take the time to step out.<br />
<br />
<b>The show just closed, did you do something at the end of the play for your personal closure?</b><br />
<br />
<b>Collin: </b>When I released the energy every night I always hung onto an imaginary thread that connected me to the character so I could easily retrieve him. When we closed, it was hard to cut that thread for good. I smiled and said thank you and goodbye. Because even through Columbine was a terrible tragedy, good things have come out of it, such as "Rachel's Challenge," and through my portrayal of Eric and everyone's amazing performance I knew people would be more aware and understanding to the complexities that created such an awful thing, thus creating positive change. <br />
<br />
<b>Is there a future project you want to talk about?</b><br />
<br />
<b>Collin:</b> I know that Paul has adapted the show into a screenplay and he just needs the right producers to jump on board to make it happen. I would love to be a part of that, but for now I'm just grateful to have been able to grow and give so much through such a meaningful story. Thank you Emmanuelle for allowing me to go to places as dark as I had to go and to return feeling like myself with such ease. <br />
Through your technique and making it my own I have avoided
unnecessary stress, gained focus, and have brought a sense of honesty to
life that was unachievable before.<br />
<br />
<b>Emmanuelle:</b> You are so welcome Collin! I wish you the best in your career. You are starting it with an amazing intensity, and I have no doubt you're going places!<br />
<br />
<i>For more info on A BALANCING ACT and the ENERGIZE technique, please visit<a href="http://www.emmanuellechaulet.com/" target="_blank"> www.emmanuellechaulet.com</a> </i>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-52776777670545435482012-05-16T21:44:00.001-04:002012-05-16T21:44:18.994-04:00Presence<div class="separator" style="clear: both; text-align: center;">
</div>
<span style="font-size: large;">How do you define Presence? Is it something that can be developed? Can you increase charisma?</span><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG0l4VE_sGAAhIeDFqz47yeOZMBC4PNTM98TyN1xhMv0DwF-94jBZGhw4rUFtSh0IptXZietFVcaOXJJLyogIdTCK3onhqHk7oR7slw-CGVkwqrx-solEwQVeINbaEe4Obn9BnV1p9HnE/s1600/Claire+Denis_Chocolat_03+for+sign.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG0l4VE_sGAAhIeDFqz47yeOZMBC4PNTM98TyN1xhMv0DwF-94jBZGhw4rUFtSh0IptXZietFVcaOXJJLyogIdTCK3onhqHk7oR7slw-CGVkwqrx-solEwQVeINbaEe4Obn9BnV1p9HnE/s320/Claire+Denis_Chocolat_03+for+sign.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Isaach de Bankole in Chocolat by Claire Denis</td></tr>
</tbody></table>
<span id="goog_1269331604"></span><span id="goog_1269331605"></span>"In 1988, I got cast in a small role in <i>Chocolat </i>by Claire Denis, and flew to Africa (Cameroon) to shoot for two weeks. There, I could observe well-known actors in a more traditional type of movie. My part was very small and quick. I was playing a white woman who would get very sick and cry in pain, but her husband would not tolerate the fact that a black doctor would have to take care of her. It was always easy for me to dive into the pain, so the shooting went quickly. After I was done, I went to the set daily to watch the others. I could see the way the lead actors were concentrating, focusing, tuning inward. Isaac de Bankolé played the black African servant to the white colonists, who fascinated the mistress of the house by his fierce beauty. <span style="font-size: large;">He did not have a word to say in this part</span>. His role was the lead, but was completely silent. Isaac was doing remarkable work, taking everything in and expressing subtle ties. This was again an incredible learning experience. <span style="font-size: large;">I discovered that presence is something immaterial</span>; it does not rely on words. It relies on character development. The energy of his character was radiating through him without the use of words. It was passing through his look, his eyes, his hands, his posture, and even his back, when he was turning away from the camera. His masculine strength and energy was shining through him, via his instinct. I then realized that too often actors get caught up in the words, in the analysis of the text, instead of letting their instinct and higher intuition guide them. They use their mind and intellect. Isaac used his guts. I was beginning to understand. It was Lesson #4: <span style="font-size: large;">Presence is an immaterial energy. It does not rely on words; it shines through the character."</span><br />
<br />
Exert; <a href="http://www.amazon.com/Balancing-Act-Development-Energize-Holistic/dp/097990630X/ref=sr_1_1?ie=UTF8&s=books&qid=1228657375&sr=1-1" target="_blank">A BALANCING ACT</a> © Emmanuelle Chaulet 2008<br />
<br />
For more info on workshops and coaching to develop presence, please visit <a href="http://www.emmanuellechaulet.com/">www.emmanuellechaulet.com</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-79493095128882965412012-04-08T13:13:00.000-04:002012-04-08T13:13:22.817-04:00Actors, Performers, Your Body is a Temple<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.non-solo-arte.com/image-files/leonardo-da-vinci-vitruvian-man.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://www.non-solo-arte.com/image-files/leonardo-da-vinci-vitruvian-man.jpg" width="231" /></a></div>
<h2>
Your mind/body/spirit is your instrument</h2>
<h4>
<br /></h4>
<b>The body is a temple.</b> Housing the soul and the mind, the body is the vehicle that we were given in order to walk through this dimension. At the same time strong and delicate, resistant and breakable, incredibly adaptable, yet demanding utmost care and attention, the body is an envelope and machinery that is also breathing, living, and changing. It is alive, and energy flows through it at all times. Responding to the currents of energies inside and around it, the body can develop pains and diseases — dis-eases — or on the contrary, strive and shine.<br />
<br />
Loving or hating the body has a tremendous impact on how it will respond and react. Constantly subjected to feelings of hate and criticism (“I’m too fat, too ugly; I don’t have a beautiful figure”), the body will wither. On the other hand, if cared for with loving attention and tenderness, the body will become beautiful and strong.<br />
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An actor, like an athlete or a dancer, needs his body to actually “embody” the character. The body is the very instrument he uses for his art. Each day, he or she, as part of his or her job duties, should devote a specific time, a minimum of one hour, to care for his or her body. Whether the physical activity is walking, jogging, swimming, bicycling, yoga, aerobic, stretching, pilates, dance, going to a fitness center and using machines, soccer, volleyball, rock climbing or any kind of sport, it is crucial that an actor makes it part of his daily routine.<br />
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Unfortunately, this idea is usually so far from actors’ preoccupations that at the college cafeteria, you can see a room divided in two: on one half are the athletes, on the other side are the artists and theatre people. There are very few actors who cross over between the two populations. More often, actors make fun of the athletes, and vice versa. Condescension and criticism are the rule. This attitude is not only foolish, it is depriving actors from an essential piece of their training, which I strongly believe should be included — and mandatory — in a theatre and acting curriculum. Physical activity will not only shape the muscles, it will also boost the spirits. As we discovered earlier on, the mind, body and spirit are so linked together that working on one will affect the other two. Working on the body itself will not only develop strong and beautiful musculature, it will also care for the house that hosts the soul, therefore enabling it to flourish.<br />
<br />
<i>Exert from <a href="http://amzn.to/t7ow5F" target="_blank">A BALANCING ACT</a> ( @Starlight Acting Books )</i><br />
<i> Find the book on <a href="http://amzn.to/t7ow5F" target="_blank">Amazon</a></i><br />
<i>Emmanuelle Chaulet is a Lecturer in Theatre at the University of Southern Maine and an Artists coach</i><br />
<i><a href="http://www.emmanuellechaulet.com/">www.emmanuellechaulet.com</a></i>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-23567259144090244192012-03-14T08:27:00.001-04:002012-03-14T08:27:53.081-04:00ACTING INSIDE-OUT: The VOICES IN YOUR HEAD<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnU_bdwgGvSSRQXCOgvmGQ8WRg7np-lHlRsCtZPaixjdgWgG0_grjeRTXsJN60h11ztKyxcR4_VDjcYXF1_u4FgO0_U5sAGmtLwrwnn0ahjt46yr5pSG5gUX93hI5XxbXhe-4Xlt9jACM/s1600/voices.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnU_bdwgGvSSRQXCOgvmGQ8WRg7np-lHlRsCtZPaixjdgWgG0_grjeRTXsJN60h11ztKyxcR4_VDjcYXF1_u4FgO0_U5sAGmtLwrwnn0ahjt46yr5pSG5gUX93hI5XxbXhe-4Xlt9jACM/s400/voices.jpg" width="400" /></a></div>
<span style="font-size: large;">One very important aspect of the inside-out approach</span> is
that it recognizes that we hold in our psyche a flock of different traits and
experiences, which can be tapped into and used for acting performance. I
believe this is fundamentally true and constitutes an amazing tool for actors.
I just consider we should use this pool of information slightly differently
than what is commonly proposed. Instead of using actual personal memories, <span style="font-size: large;">one
should only work with the energy of each aspect of our psyche</span>. In this fashion,
the actor can still focus on the reality of the imaginary circumstances of the
play without using substitutions. Yet, he can support himself with the
appropriate quality of energy that belongs only to him, thus reaching a genuine
and truthful interpretation of the required feelings and emotions. Using only
an energy type or a sub-personality type that comes solely from his own
subconscious (instead of using events or memories from his own life), the actor
will remain in the creative world of the play, yet still feed his performance
with his own personal truth. Here is how it works:
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<span style="font-size: large;">The voices in your head </span></div>
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Many different theories about the subconscious agree that
our mind is filled with multiple voices, which form the multifaceted aspects of
our personalities. Like a prism, each facet of our psyche reflects a different
persona and has its own point of view, style and agenda. Each voice tells us in
genuine truth what is better for us, according to him or her. Each
sub-personality looks out only for our best interest and fiercely defends its
territory and its argument, sometimes succeeding in saving us from danger.
<span style="font-size: large;">Sub-personalities seem to be like different characters living inside our minds,
inhabiting us all at once and taking turns at who is running the show.</span> Each
sub-personality can also be visualized as an energetic aspect of ourselves.
Different from the clinical diagnosis of multiple personality disorder, the
idea that all of us are a composite of many individual, psychological and
energetic selves is growing in the psychological field. Following are three
different approaches of this enlightening theory, and the angle that <i>Energize</i>
uses for actors. </div>
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<span style="font-size: large;">Archetypes</span></div>
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Famous psychiatrist Carl Jung, founder of analytical
psychology, developed the theory of Archetypes, which Caroline Myss, PhD, an
internationally renowned pioneer in energy medicine and spirituality, recently
reworked in her book <i>Sacred Contracts</i>.<a href="http://www.blogger.com/blogger.g?blogID=6426467535118421559#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span style="mso-special-character: footnote;"></span></a>
According to this theory, every one of us functions following different set
behaviors or thought patterns that are defined as universal Archetypes. These
thought patterns have existed for centuries and have been described through
countless stories, songs, legends and myths. They form our behaviors and are
deeply engraved in our subconscious. They are part of what Jung called the
“collective unconscious.” These Archetypes shape the stories of heroes and
heroines from mythology to modern day storytelling; they explain our actions
and influence our thoughts, inspiring the lyrics of songs and scripts of
movies. Caroline Myss believes that we are actually born with them and that
they consist of the psychological grid on which our destinies are woven. They
are the subliminal patterns that explain most of our decisions and choices.
They resonate in our subconscious like voices telling us what to do. </div>
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Caroline Myss says: </div>
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<i>These patterns, often ancient in origin, populate our minds
and lives in ways that affect us deeply. Yet we are generally unaware of them.
These patterns of intelligence are archetypes, dynamic living forms of energy
that are shared in many people’s thoughts and emotions, across cultures and
countries. Learning to read the archetypal patterns that influence your energy
is the natural complement to working with the energy of the chakras. Just as
the energies of your chakras work together to provide a map of physical and
energy information, the collective body of your archetypes produces a view of
the governing forces of your psyche and soul. </i></div>
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</blockquote>
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For example, here are a few Archetypes you should be able to
recognize immediately: the Victim, the Child, the Wounded Child, the Princess
or Damsel in Distress, the Mother, the Prostitute, the Teacher, the King, the
Healer, the Protector, the Negotiator, the Servant, the Master, the Rebel, the
Thief, the Don Juan, the Savior, the Rescuer, etc. Many roles in major plays
and movies correspond to these Archetypes. Caroline Myss actually lists
examples in her book: Harrisson Ford in Indiana Jones as a Rescuer; James Dean,
of course, as a Rebel in Rebel Without A Cause; and Princess Leia in the Star
Wars Trilogy as a Princess or Damsel in Distress are just some of the most
obvious. It would be wonderful material for a thesis to examine Hollywood films
from this angle. Caroline Myss’ research led her to believe that there are
twelve major Archetypes that shape our lives and behaviors. Following Jung’s
theory, she also explains that there is a positive and a negative (or Shadow)
side for each Archetype. The Shadow side represents emotional patterns coming
from repressed feelings and fears, the secret reasons why we sabotage what we
try to do. Neither good nor bad, the Shadow side is a “complex,” a part of
ourselves we do not want to acknowledge. Eventually, says Myss, every one of us
needs to confront our Shadow sides in order to evolve to our highest divine
potential. In her fascinating book, she gives tools to analyze the Archetypes
that rule your “spiritual contract” (or higher purpose), and offers ways to
transcend the Shadow sides of our psyche to move forward on the road to our
evolution.</div>
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<span style="font-size: large;">Voice Dialogue</span></div>
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The Voice Dialogue approach also describes a multitude of
inner voices called “The Selves.” Developed by Hal Stone, PhD, and Sidra Stone,
PhD,<a href="http://www.blogger.com/blogger.g?blogID=6426467535118421559#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span style="mso-special-character: footnote;"></span></a>
Voice Dialogue is a psychological therapeutic tool that can be used in
conjunction with other modalities, and that is also greatly influenced by the
work of Carl Jung. Hal and Sidra Stone explain that they see “The Selves as the
smallest discrete units of the psyche: as energy bodies that vibrate within us
and determine ‘who we are’ at any given time. Each Self has its own way of
viewing the world, its own perceptions, its own beliefs and rules, and its own
specific history.” They refer to them as energy bodies that can deeply affect
the physiology of a person, as each self can sometimes present different
physiological characteristics: different allergies, different blood pressure,
different pains, more or fewer wrinkles, etc. They represent certain types: the
Responsible Parent, the Rational Mind, the Protector, the Rebel Child, the
Procrastinator, the Overachiever, the Slob, the Emotional Self, the Fearful
Self, the Pleaser Self, the Perfectionist, etc. Some of these are more familiar
to us, while some are ignored and down right excluded. </div>
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The “Disowned Selves” are the energy patterns that have been
ignored and rejected. They often carry violent emotions and feelings of
exclusion. The Disowned Selves represent the opposite polarity, the Shadow
side. For example, opposite a Pleaser will be a more selfish side, opposite a
Controller will be a more relaxed, “laissez-faire” aspect, opposite a
Procrastinator will be a Perfectionist, opposite an Obsessive Cleaner will be a
Slob, etc. We are often aware of only one of the polarities, while repressing
the other. Hal and Sidra Stone believe that even though the Selves will remain
consistent, they can evolve and change. The best way to help this evolution is to
let them speak, as what they want most is to be heard. Often, the Selves
influence our behavior in peculiar and restrictive ways just because we do not
let them speak or listen to them. However, being heard is often just enough to
calm down the frustration that a Disowned Self can carry. For example, let’s
say your Overachiever is pushing you to finish writing this screenplay you have
started, but your laid back Beach Bum wants to get tanned and go swimming.
There will be a tug-of-war in your mind until you listen to both sides and
allow each to express what it wants, as well as reassure them both that each of
their demands will be honored in its own time. Today you finish writing, but
tomorrow you’ll go to the beach.</div>
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In Voice Dialogue, a facilitator will help a patient let
several of his Selves speak their mind on an issue, fully and without
restraint. Using a convention of having the patient alternately sit in
different chairs, representing each voice, the facilitator will ask questions
to each Self and their opposite, allowing them to speak freely. Finally he’ll
help the person mediate between them, by going through a process called “The
Aware Ego.” I have myself experienced this technique and was amazed by the fact
that, without my control, each Self used a different body language, voice,
accent, and tone of voice. I also felt the muscles of my face changing its
“mask” as I was alternatively moving from one chair to the other. I witnessed
the same thing happening to each of the fifteen actors experimenting with us.
The Selves most often expressed long, repressed frustrations. Suddenly, the
reasons why we were doing certain things in our lives appeared very clearly to
each of us. With the Voice Dialogue, the level of awareness increases and the
“Aware Ego” process develops. In that process the person tries to honor,
mediate between, and care for the Selves without necessarily making all of them
happy. This technique is especially fruitful for decision-making. Each
individual wish of the Selves cannot always be fulfilled, but the Selves will
feel reassured and cared for enough not to wreak havoc in the person’s
subconscious.</div>
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Voice Dialogue is currently used by thousands of therapists
and facilitators around the world, and many books have been published on the subject.<span style="font-size: large;">" I believe VOICE DIALOGUE is a fabulous tool for performers enabling them to tap into their inner voices to create a character.</span></div>
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<br /></div>
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<a href="http://www.amazon.com/Balancing-Act-Development-Energize-Holistic/dp/097990630X/ref=sr_1_sc_1?ie=UTF8&qid=1322757555&sr=8-1-spell" target="_blank">Exert from A BALANCING ACT</a>, by F. Emmanuelle Chaulet</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFmI_zFIgUO448w7z59tJiCATpxb36bh-aUx75WvPJ6pj_CmA4VnExJNqHkMBypC3bRyHqjbDb04CpySVBz3dqKV9WTw7QZ7QbRnFxfYQPG-zNUmz2Y8h0tiunJsDvElBRkMA_P5x3DfQ/s1600/balancingact.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFmI_zFIgUO448w7z59tJiCATpxb36bh-aUx75WvPJ6pj_CmA4VnExJNqHkMBypC3bRyHqjbDb04CpySVBz3dqKV9WTw7QZ7QbRnFxfYQPG-zNUmz2Y8h0tiunJsDvElBRkMA_P5x3DfQ/s200/balancingact.jpg" width="133" /></a></div>
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© Emmanuelle Chaulet 2008</div>
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<br /></div>
<div style="mso-element: endnote-list;">
To read more please check the book : <a href="http://www.amazon.com/Balancing-Act-Development-Energize-Holistic/dp/097990630X/ref=sr_1_sc_1?ie=UTF8&qid=1322757555&sr=8-1-spell" target="_blank">A BALANCING ACT, by F. Emmanuelle Chaulet</a></div>
<div>
</div>
<div>
<a href="http://www.emmanuellechaulet.com/" target="_blank">Emmanuelle Chaulet</a> is an artists' coach and Lecturer in Theatre at the University of Southern Maine</div>
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-82821494914377400342012-02-24T15:43:00.000-05:002012-02-24T15:43:49.987-05:00The Artistic Flame<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimlrxbqbNg2x_24vehcZBx_waDs1qaDdkz2_RC17jDLI3obbf-ciOqDt1A7vTe9LEu1uoPti3C6hvKI3bVyqhfxpTne03jq6oCK-gTCxVozpK7HiRNNMKpfavCv0ziJmkX0mMpkRObsW4/s1600/0129514750085.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimlrxbqbNg2x_24vehcZBx_waDs1qaDdkz2_RC17jDLI3obbf-ciOqDt1A7vTe9LEu1uoPti3C6hvKI3bVyqhfxpTne03jq6oCK-gTCxVozpK7HiRNNMKpfavCv0ziJmkX0mMpkRObsW4/s320/0129514750085.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="il_n">
Ancient ceremony: </div>
<div class="il_n">
Greek actress Maria Nafpliotou lights the Olympic Torch </div>
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<br /></div>
</td></tr>
</tbody></table>
This winter, I learned that the first stepping stone for any creative or artistic endeavor is <span style="font-size: large;">vibrant health</span>. Without vibrant health, your creativity is stifled and you are forced to pause.<br />
I learned this of course the hard way. I was forced to pause and take care of myself. It felt like I was held back. In fact, I was moving forward on my path...<br />
<br />
<span style="font-size: large;">Vibrant Health is supported by emotional balance, rest and proper nutrition.</span><br />
<br />
Artists too often neglect these stable pillars in their lives, and believe that they only need intense emotions, fast pace lives, and exciting rush to create. It strikes me that often, <span style="font-size: large;">intense pathos, drama and adrenaline surge will give the illusion of creation</span>, but they will more likely open the gate to the expression of one's personal crisis, and not the gate to creativity.<br />
<br />
<span style="font-size: large;">What is the Creative Source, the Artistic Muse?</span> Does it reside within ourselves or outside of us? Is it personal or universal? As a young actress, I thought I had to suffer to perform well, and share my pain, "wring my guts" as the French say.<br />
<br />
Now I know that the Artistic Muse will touch an artist with the gift of transmitting love, beauty, and harmony. It will pass the flame of wisdom, and ask you to share it with the world. It will charge you with a mission and a purpose. Perhaps you will be asked to open people's eyes to terrible realities so they can turn to beauty and love. Perhaps you will be charged to show peace and harmony. But no matter the case, the Muse will whisper in your ears, if you only learn to listen. Your work is to relax, tune in and get ready.<br />
<br />
This is why vibrant health is so important for an artist: <span style="font-size: large;">you need to get prepared to carry the flame of the Artistic Muse like an Olympic athlete carries the torch.</span><br />
<br />
So, take great care of your Artist Selves, get ready!<br />
<br />
Emmanuelle Chaulet<br />
<br />
Artists Coach<br />
<a href="http://www.emmanuellechaulet.com/">www.emmanuellechaulet.com</a><br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6426467535118421559.post-88997092769009094262011-12-16T07:05:00.000-05:002011-12-16T07:05:00.519-05:002012: New resolutions, new shift, new paradigm<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMsOEVSdBE11vbWl7M_eauTXLk_qY4cElK20dhrYhBwz25cbnK-FJQiJtjLPbvpjlRfmS_GZkpi8IeqDNJweh4vE2ljESdfDf-aIYR6HGvsZj-lMi2FP39r6svPK5cRz_oWQ6iUdd8YDo/s1600/Image+7.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="123" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMsOEVSdBE11vbWl7M_eauTXLk_qY4cElK20dhrYhBwz25cbnK-FJQiJtjLPbvpjlRfmS_GZkpi8IeqDNJweh4vE2ljESdfDf-aIYR6HGvsZj-lMi2FP39r6svPK5cRz_oWQ6iUdd8YDo/s200/Image+7.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><i>Frost Crystal, by Jean-Pierre Rousset</i></span></td></tr>
</tbody></table><span style="font-size: large;">As we approach the change of year </span>and the entry to 2012, we see that around us everything is already shifting, transforming and even collapsing to open for rebuilding. Dictatorships becoming democracies, the abundance of the very few starting to be redistributed to others, the research and finding of new energy resources that will not pollute the earth and obvious climate change: all these things show us that the earth, our home, is profoundly shifting.<br />
<br />
<span style="font-size: large;">The shift that is happening around us is also happening in ourselves. Our cells are shifting on the vibratory level.</span> It can be scary, it can be a roller coaster and we don't know what will come. I invite you all to embrace it and ride the wave as surfers. If you wake up at night and feel the pulse of the change going through you, as I often do, I invite you to breathe through it and let go. I invite you to trust that everything will be all right. It will be a different life, but better for all.<br />
<br />
Perhaps it is finally possible that we can trust ourselves, love ourselves, and open up to our inner guidance. As I have often said: <span style="font-size: large;">ACTORS, PERFORMERS, you are a LIVING WORK OF ART!</span><br />
<br />
Let this sensation inform your thoughts and create inner respect for you, and for others so we can move into a world with a newly found respect for each other.<br />
As performers, you will lead the way. <br />
<br />
<span style="font-size: large;">Best wishes for a happy, prosperous and enlightened year 2012!</span><br />
<br />
<br />
Emmanuelle Chaulet<br />
author of A BALANCING ACTUnknownnoreply@blogger.com8tag:blogger.com,1999:blog-6426467535118421559.post-19781290434505955562011-11-11T16:49:00.001-05:002011-11-11T17:26:38.572-05:00Character Work: Letting The Character Lead<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s1600/balancingact.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1UyAl5Cohhfg7-MMkCc5QccoNSoYMy8YLsmAn-M44IaGpKgct1l6uUgQAvplBYmxnfdFklWyzF3AgLme1hdDm5Ol18lJutnv3_5sD-vXWykU8pwahhG5EIz0H-h2UDpapDnAh49FdOk/s200/balancingact.jpg" width="133" /></a></div><span class="Apple-style-span" style="font-size: large;">When I recently responded to a blog post on character preparation</span>, I brought up the idea, central to my method, the Energize technique, of “Letting the Character Lead.” James Devereaux, author of the <span class="Apple-style-span" style="font-size: large;"><a href="http://thegreatactingblog.posterous.com/" target="_blank">Great Acting Blog</a></span> asked me to share with you an excerpt of my book <a href="http://www.emmanuellechaulet.com/books.html" target="_blank">A BALANCING ACT</a> on that subject. <br />
Here it is, found in Chapter VII:<br />
<br />
<div style="text-align: right;"><i>Try to “hear” the character speak. </i></div><div style="text-align: right;"><i>Begin to cooperate with your character, </i></div><div style="text-align: right;"><i>asking questions and getting its “visible” answers.</i></div><div style="text-align: right;"><i>Michael Chekhov</i></div><div style="text-align: right;"><i><br />
</i></div><div style="text-align: right;"><i>A character, sir, can always ask a man who he is.</i></div><div style="text-align: right;"><i>Because a character truly has a life of his own,</i></div><div style="text-align: right;"><i>marked by his own characteristics, because of which he is always “someone.”</i></div><div style="text-align: right;"><i>On the other hand, a man – I’m not saying you at this moment –</i></div><div style="text-align: right;"><i>a man in general, can be “nobody.”</i></div><div style="text-align: right;"><i>-Luigi Pirandello</i></div><div style="text-align: right;"><span class="Apple-style-span" style="font-size: large;"><br />
</span></div><span class="Apple-style-span" style="font-size: large;">The outside-in approach</span><br />
The theatre world has been divided on this issue for centuries. Some say it is better to create a character from personal knowledge and past experiences (Lee Strasberg, for example). Others say that imagination must be the primary foundation for the actor’s work, that form precedes content and that by working on the form of the expression, the body language and the gesture, the emotion will follow (Michael Chekhov, for example). I have been trained both ways and I see truth in each. I am a strong believer in using both in some ways. The order and sequence in which the actor needs to approach the role doesn’t really matter. However, I truly feel that an actor must get inspiration from outside his personality or he will forever play himself in various situations. Yet, he also needs to root his performance within his own subconscious, in order to be truthful and to exploit the various facets of his personality. After all, actors are chameleons. They love changing personas, and they naturally have an ability to do so, or they would not have become actors.<br />
The first phase of the Energize technique is based on the outside-in approach. In the next chapter we will see how to integrate the inside-out approach via the use of sub-personalities. Ultimately, an actor should use both simultaneously. I conceptualize it this way: starting from inside to open the aspect of oneself that is most appropriate for this particular role, then later reaching outside to wear the new “skin” of the character. <br />
But first, one needs to get to know and befriend the character. Stanislavski called that “falling in love” with the character. In <i>Six Characters in Search of an Author</i>, Luigi Pirandello puts the following words in the mouth of the Father, one of the six “immaterial” characters who tries to convince a director and his acting troupe to perform their story: <br />
<br />
<blockquote class="tr_bq"><br />
FATHER: One is born to life in many ways and in many forms: as a tree, or as a stone, as water, as a butterfly…or as a human. And one can also be born as a character … “He who has the luck to be born as a live character can even laugh at death. He will never die. The one who will die is the man, the writer, the instrument of the creation. The creation never dies … They live eternally, because, being live germs, they had the good fortune to find a fertile matrix, a fantasy that knew how to raise and nourish them, to make them live for eternity! …<br />
DIRECTOR: All of this is fine. But what is it that you want here?<br />
FATHER: We want to live, sir!<br />
DIRECTOR: For eternity?<br />
FATHER: [referring to the actors]: No sir, only for a moment…in them.</blockquote><span class="Apple-style-span" style="font-size: large;"><br />
</span><br />
<span class="Apple-style-span" style="font-size: large;">Listening to the character, befriending it</span><br />
One of the first exercises I do with my actors is a relaxation/visualization focused on the character. After a good lying down relaxation on the mat, during which time I take them through all the chakras, aura, and different elements of the energetic system while doing a self-clearing, I ask performers to visualize the character they are going to play. Using their five senses, I ask them to observe, feel, listen to, smell, touch in their minds eye, and (why not?), taste the character they are going to play. This exercise is a “getting to know each other” time, as if the character and the actor were going to become dance partners, and even live together for a while in a marriage. I ask the actor to explore the persona they are going to embody. Using their subconscious and not censoring any information their imagination and intuition are going to give, they create, or more accurately, discover, the character’s personality. A composite of voice, movements, posture, mannerism, thoughts, inner monologue, and personality traits, the character then starts having a life of its own and becomes a real person. I ask actors to listen to what the character wants to tell them. I ask them to take notes at the end of the relaxation/visualization. The character will tell its story, its challenges, and share what its objective, deepest wants and yearnings are. He or she will talk about their struggles and about the obstacles in their way. They will talk from their point of view about the other characters, about events in the play or in their life before the play. He or she will share their childhood, their stories of love and lust, abuse and revenge. From these confidences, the images and feelings about who the character really is will be more vivid, more tangible. The objectives and actions will be clearer and more obvious. This inner dialogue is like having an imaginary date with your character, befriending him or her, finding its qualities, its humanness, and listening to its point of view and its story. Stanislavski talked about “flirting” with your character. It is indeed a seduction dance, a tender approach. Shirley MacLaine writes in <i>Going Within</i> about her performance of Madame Sousatzka:<br />
<br />
<br />
<blockquote class="tr_bq">“I proceeded to sculpt, with Schlesinger’s help [the director] what Sousatzka looked like, what she wore, how her hair was styled, what jewelry clanked on her wrists, how she walked, talked, ate, breathed, laughed, and cried . . . She became a composite of reality; a real, living, breathing character fashioned from our creativity. After I finished my composition of thought, I let her go. I threw her up to the universe and said <span class="Apple-style-span" style="font-size: large;">“Now you play yourself through me.”</span></blockquote><br />
Stay tuned for another post about more practical exercises.<br />
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<div class="MsoNormal">©<a href="http://www.blogger.com/goog_1469584484"> Emmanuelle Chaulet</a><a href="http://www.emmanuellechaulet.com/" target="_blank"> </a> A BALANCING ACT 2008<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Emmanuelle Chaulet is a Lecturer of Theatre at the University of Southern Maine, and an artist’s coach. She is the author of <span style="color: windowtext; text-decoration: none;">A <a href="http://www.emmanuellechaulet.com/books.html" target="_blank">BALANCING ACT</a></span>, (Starlight Acting Books 2008) and can be contacted at: <a href="mailto:info@emmanuellechaulet.com" target="_blank">info@emmanuellechaulet.com</a> and <span style="color: windowtext; text-decoration: none;"><a href="http://www.starlightacting.org/">www.starlightacting.org</a></span> or <span style="color: windowtext; text-decoration: none;"><a href="http://www.emmanuellechaulet.com/">www.emmanuellechaulet.com</a></span><o:p></o:p></div><div class="MsoNormal"><br />
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