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viernes, 22 de mayo de 2009

Bienvenida a Teatrex Piso 5







TEATREX Teatro Piso 5 es un nuevo concepto de entretenimiento cultural que abre sus puertas de lunes a domingo en el Piso 5 del Centro Comercial Paseo el Hatillo, en cuyos espacios convergen diversas expresiones de las artes escénicas y musicales de altísima calidad para toda la familia. Diseñado con los más novedosos equipos de sonido e iluminación de última generación, en TEATREX Teatro Piso 5 usted podrá disfrutar de la más amplia y variada programación, con el máximo de confort. El teatro cuenta con 206 butacas de cuero altamente confortables, asientos para minusválidos, servicio de Valet-Parking, venta de entradas vía telefónica, en taquilla o a través de la página web, caramelería-bar… ¡y hasta podrá disfrutar de su bebida durante la función!
Desde el Gimnasio de Actores damos la Bienvenida a la nueva sala de teatro que se abre en nuestra hermosa ciudad. Felicitamos a todos quienes que han hecho posible esta nueva realidad.
Mil gracias!
Luis E. Clesca
Director General
Marialejandra Martín
Directora Artística
Laura Dasilva
Gerente General
Susana Baserva de Sosa
Gerente de RRPP
José Luis Yépez
Director Técnico
Johan Infante
Valentina Sequera
Sub-Gerente
Andreína Blanco
Coordinadora de Programación
Roger Quilarque
Jefe de Sala
Yan Pérez
Jhonny Rodríguez
Técnico de Iluminación
José Gregorio López
Salvador Santeliz
Douglas Moisés Castillo
Dionys Fuentes
Tramoya
Chequeen su página web que está excelente! http://www.teatrex.com.ve/

Venezuelan Playwright - Maria Alexandria Beech


Maria Alexandria Beech graduated cum laude with a Bachelor's degree in Literature Writing at Columbia University where she earned an MFA in Playwriting as a recipient of the Williams Foundation Fellowship and the Dean's Fellowship. Alex has worked as a television news reporter and producer, emerging markets analyst and marketing strategist at Lehman Brothers. Her articles have been published by Lehman Brothers, Veneconomy, El Universal, Barclays Capital, The New Leaders, and other publications. In 2006, her play BREAKING WALLS was produced at The Cherry Lane Theatre as part of its Cherry Pit Late Nite Series. Her Spanish translation of THE COOK, by Eduardo Machado, premiered at The Stages Theatre in Houston. Her play about torture, THE SOFT ROOM, was performed at the Culture Project's Impact Festival. Blue Box Productions presented her plays, BAT IN IRAQ, YOUR FACE, and DESIGNER X at Sticky at Blue. Her play, THE INVENTOR OF MANATEES, was performed at the Flea Theatre as part of Stupid Plays. In 2007, she participated in the Insurgency/Counter-Insurgency Theatre Project at The School of International and Public Affairs at Columbia University, where her play, BAT IN IRAQ was performed. In 2006 and 2007, her plays, LIMA BEANS, BREAKING WALLS, and BLACK ROSES were semi-finalists in the Cherry Lane Mentor Project. As a member of the Hispanic Playwrights Lab at Intar, her play CAST ASIDE was performed in Bus Stop. For the past three seasons, Alex has been a member of The Dorothy Strelsin New American Writers Group at Primary Stages Theatre in New York, where her play, SAVING THE LIVES OF STRANGERS, was performed in two staged readings. In 2008, CHARITY was performed in a reading which included Frances Sternhagen. As an invited artist at the Lark Play Development Center's US/Mexico Exchange Program in 2008, Alex translated and participated in the workshop of Luis Ayllon's THE CAMELS. In April, her play BONDS, set at Lehman Brothers in 1999, will be presented in a reading at Primary Stages Theater, and her plays, DESIGNER X, YOUR FACE, and WHAT ARE YOU DOING HERE, will be performed at The Planet Realities Festival. In 2009, Alex was the recipient of The Aspen Theatre Master's Visionary Playwright's Award.

Broadway and film star Jeremy Irons announced the second annual Theater Masters' Visionary Award winners on Thursday, May 14th. at a press reception. The 2009 Visionary Award Winners are Maria Alexandria Beech and Zayd Dohrn with New York's Primary Stages and The Dallas Theater Center as respective sponsoring theaters.


Winning playwrights are invited to attend Aspen Institute's noted "Aspen Ideas Festival," and are jointly commissioned by the nominating theatre and Theater Masters to write a full-length play that embraces timeless values and powerful issues. Based in Aspen, Colorado, Theater Masters is a non-profit organization whose core mission is to seek and nurture the next generation of artists for the American Theatre and present their work. "Along with some of the country's finest regional theatre artistic directors, we are identifying remarkable writers who are some of the finest young playwrights in this country and encouraging them to write a new play inspirited by attendance at the Aspen Ideas Festival ," said Julia Hansen, Theater Masters founder and Artistic Director - and former President of New York's Drama League. "In many ways how I started the Drama League's "Director's Project" is how I am now fostering new playwrights --- by discovering new playwrights with sponsoring theaters and guaranteeing the writers that their work will be seen."


In 2008, Theater Masters initiated the Visionary Playwrights Award, in partnership with the Aspen Institute and three of America's top regional theaters: Steppenwolf Theatre in Chicago, La Jolla Playhouse in California, and Playwrights Horizons in NYC.

martes, 5 de mayo de 2009

2do Taller de Dirección de Actores

El Taller es diseñado para directores de actores en teatro, cine o televisión; y tiene como objetivo la combinación del trabajo teórico con el práctico. Abriendo posibilidades a los directores de trasmitir sus ideas a los actores de forma precisa y clara. Permitiéndoles explorar las distintas posibilidades del texto e interacción de los personajes en sus conflictos. La obra de Tennessee Williams "La Rosa Tatuada" servirá de referencia al trabajo de análisis y exploración con los actores del Gimnasio de Actores. Una vez formalizada la inscripción se hará entrega del texto en una adaptación en la Venezuela de los años 50.





Primera Sesión

Concepción de la Dirección de Actores.
Teoría fundamentados en el trabajo sobre el actor que realizan
William Ball, Uta Hagen, Stella Adler, Sandford Meisner, Frank Hauser y Russel Reich para lograr resultados útiles. Utilización de Verbos y manejo del Conflicto.

Segunda Sesión

Análisis del Texto de la obra de Tennessee Williams
“La Rosa Tatuada”
Comprensión del Subtexto.

Tercera Sesión

Trabajo Práctico con Actores Profesionales
Muestra Privada


Lunes 10 6 a 9 pm, Jueves 12 de 6 a 9 pm y Sábado 15 de Agosto 10am a 5 pm

Refrigerios, Entrega de Material Informativo y disponibilidad de Actores Profesionales para el trabajo práctico.

Inversión: 1000 Bs

quedan 6 cupos de 10 en total

Favor enviar la solicitud por email al gimnasiodeactores@gmail.com

Facilitadora:
Matilda Corral Master en Actuación Actors Studio Drama School, NY.

Lugar:
Banco del Libro, Avenida Luis Roche, Altamira Sur. Inscripciones 04164003190 gimnasiodeactores@gmail.com www.gimnasiodeactores.blogspot.com






lunes, 4 de mayo de 2009

Gustavo Ott - Dramaturgo Venezolano



Gustavo Ott (Caracas, 1963). Autor Dramático y Periodista egresado de la Universidad Católica Andrés Bello (UCAB, 1991); participante en el International Writing Program de la Universidad de Iowa en 1993 y de la Residence Internationale Aux Recollets en Paris 2006; Premio Internacional de Dramaturgia Tirso de Molina (1998, España) por "80 Dientes, 4 Metros y 200 Kilos"; Premio Internacional Ricardo López Aranda (2003, España) por "Tu Ternura Molotov"; 2do Premio del Concurso Nacional de Creación Contemporánea y Dramaturgia Innovadora del IAEM, Caracas 2006 por “120 Vidas x Minuto”, Accésit Premio de Dramaturgia de Torreperogil 2007, España, por “Monstruos en el closet, Ogros bajo la cama”.


En los años 2002 y 2003 fue elegido para participar en el programa "New Works Now!" del The Public Theater de Nueva York con "80 Dientes…” y "Two Loves and a Creature" (Dos Amores y un bicho) así como para el Programa de Dramaturgia de La Mousson D’Ete en Francia y "La Mousson a Paris" en la Comedie Francaise, dirigido por Michael Didym, en ambas oportunidades con "Photomaton" (Fotomatón). En el 2005 fue presentada “Deux amours et une petite bête” (Dos Amores y un bicho) en el Studio de la Comedie Francaise, dirigida por Vicent Colin.
Sus obras han sido traducidas al Inglés, Italiano, Alemán, Francés, Danés, Ruso, Checo, Portugués, Polaco, Húngaro, Japonés, Griego, Catalán, Turco y Creóle.
Se da a conocer en Venezuela con la publicación de su libro "Teatro 5" contentivo de obras como "Los Peces crecen con la Luna" (1983) "El Siglo de las Luces", (1986) y "Passport" (1988), esta última pieza sobre la pérdida de identidad por los efectos de la arbitrariedad y la incomunicación.
Sin embargo, su presentación en escena fue con el grupo Textoteatro y la comedia "Divorciadas Evangélicas y Vegetarianas" (1989). A este suceso le siguieron otras comedias como "Apostando a Elisa" (1990) y "Cielito Lindo" (1990) obras donde ya anunciaba ese estilo "raro, divertido y cruel" de Ott. En 1995, la producción de “Pavlov” a cargo de GALA (Washington, D.C.) bajo la dirección de Abel López, fue su debut de Ott en la escena estadounidense.
Ott escribe por esos años piezas para el gran público, como por ejemplo "Nunca dije que era una Niña Buena" (1992), también producida en EE.UU por GALA y que toca el tema de la violencia juvenil. Con “Niña Buena” Ott funda además el Teatro San Martín de Caracas (TSMC) mientras que ese mismo año la Cuarta Pared de Madrid estrena la Sala de Lavapiés con "Passport", dirigida por Javier Yague.También ese año estrena "Linda Gatita" (1992), obra sobre la búsqueda de afecto en las relaciones entre el norte y el sur y también estrena en el TSMC "Quiéreme Mucho" (1993), dos historias de inmigración y amor entre dos generaciones distintas, armadas como cuadros simétricos, a la manera de Erscher.

En 1996 la editorial Avispa de Madrid edita dos tomos contentivos de seis piezas que abarcan sus primeros años como autor. En 1997 edita en Caracas "Las Piezas del mal", tomo en el que reúne, junto a "Pavlov", obras como "Gorditas" (1994) crónica femenina sobre la ambición; y "Corazón Pornográfico" (1995)comedia donde analiza el tema del crimen entre el realismo y el comic. En 1997 inicia su grupo de piezas más importante hasta ese momento, que llamó "Pentagrama", compuesto por cinco piezas bajo lo que denominó "el estilo macabro latinoamericano". Lo integran "Comegato" (1997-Premio Municipal de Teatro 1998-Premio Casa del Artista 1998), obra sobre el dilema entre la decencia y el crimen; "Fotomatón" (1997-Premio Municipal de Teatro 1999, Premio Casa del Artista 1999), una autopsia del alma latinoamericana; "80 Dientes, 4 Metros y 200 Kilos" (Premio Internacional Tirso de Molina 1998/1er Finalista Premio Princess Grace 2001-EEUU, Premio Municipal de Teatro 2002, Premio Celcit 2002) pieza épica sobre el tema de la culpa; "Tres Esqueletos y Medio" (finalista Premio José Igancio Cabrujas,1998) obra sobre el encuentro macabro entre la trascendencia y el presente criminal; y "Miss" (1999, Premio Celcit 2002) pieza épica sobre la ambición latinoamericana.

En el 2002 la Casa de América de Madrid editó "Dos Amores y un Bicho", obra con la que abre una nueva etapa en su estilo, con pocos vínculos con lo que había escrito hasta ese momento, en especial en su tratamiento de las formas, el tema y el lenguaje. "Dos Amores..” es una obra sobre el tema del odio y es inmediatamente traducida al Inglés, Francés, Alemán y Creóle, estrenándose en Caracas en el 2004, dirigida por el autor. Con el título "Deux Amours et une pettite bette" fue estrenada en diciembre del 2003 en Lyon, Francia. Ese año, su unipersonal “Bandolero y Malasangre”, traducido por Francoise Thanas, es estrenado por la Scene Nationale du Potiers, Francia, y luego estrenada en catalán en Valencia, España. Fue publicada en la Revista Conjunto de Cuba en el 2004.

También en el 2004 es editada en Santander, España, "Tu Ternura Molotov" (Premio Ricardo López Aranda), obra que aborda la relación entre intolerancia y terrorismo. "Molotov" fue estrenada ese mismo año en el Teatro Cuyás de la Palma de Gran Canarias por Profetas de Mueble Bar y también en Argentina (CELCIT,2006), México (Teatro Xola, DF 2006), Portugal (AL-MaSRAH Teatro, Algarve), Washington (GALA,2008), Colombia (Teatro Nacional,2008), California (Teatro de las Américas, 2008), Caracas (2009) y presentada en Inglés por The Kitchen Dog Theater de Dallas en su programa de “Nuevas Piezas” del 2007.

En el 2006 estrena su primera comedia en 10 años, "Pony", comedia de tesis sobre el engaño y los procesos de elecciones. Ese mismo año, el programa Quartiers D´Ivry de Paris presentó “Deux Amours…” y “Photomaton” dirigidas por Elizabeth Chailloux. También en el 2006 obtiene el 2do Premio del Concurso de Dramaturgia Innovadora del IAEM, Caracas, con “120 Vidas x Minuto”,(2005) pieza sobre la catástrofe en el sentido del arte y del país, estrenada en Caracas y dirigida por el autor en el 2007. Esta pieza fue estrenada luego en inglés en una producción para la Universidad de Ohio, EEUU, dirigida por Otto Minera.

En el 2008 la Asociación de Autores de Teatro de España edita “Monstruos en el closet, ogros bajo la cama”(2007) mientras que Paso de Gato de México editó “Passport” en sus Cuadernos de Dramaturgia Internacional. Ese mismo año, la editorial Lagoudera de Atenas editó “Tu Ternura Molotov” , traducida por Stamatis Polenakis y “Chat” (2008), pieza sobre el perverso colectivo en la comunicación virtual, traducida por Stamatis Polenakis, D. Siuva, Cleopatra Eleotriviari, S. Cufopulu, A. Sarafi, C. Tsocalidu y I. Lasopulu. Ambas traducciones al griego fueron supervisadas por María Jatziemanuíl.


Meriwether Publishing Ltd de Estados Unidos incluyó partes de sus piezas traducidas al inglés por Heather Mckay en “Audition Monologs for Student Actors”, (1999); International Plays for Young Audiences, (2000); “ Audition Monologs for Student Actors II, (2001); “New Audition Scenes and Monologues from Contemporary Playwrights: The Best New Cuttings From Around the World”, (2003, 2005 y 2007). Sus piezas han sido publicadas también en España, Francia, Colombia, México, Cuba, Grecia y Venezuela.

Ha recibido además premios como el Juana Sujo (Caracas,1990) , Maclharen Comedy Playwriting Competition (Finalista) por "Linda Gatita" (EE.UU., 1995), Premio de la Crítica de Puerto Rico por "Los Peces crecen con la Luna" y los premios de los Festivales Karzinbarcika (Hungría) y Liverpool (Canada) por "Pavlov"; MB-Praga 2003 por "Passport" y Premio Yakumo Festival 2007 (Japón) por “Wet Dog Waiting” (Bandolero y Malasangre). En el 2001 recibió el Premio Circulo de Escritores de Venezuela y fue Primer Finalista del Princess Grace Award-New York 2001 con "80 Teeth, 4 feet and 500 Pounds" ; Premio CELCIT 2002 por "80 Dientes..." y "MISS". Premio Escenas (Mejor Obra del 2007) de Panamá por “Divorciadas, Evangélicas y Vegetarianas”.


Si desea leer sus obras puede ingresar a la página del autor.

domingo, 3 de mayo de 2009

El Método Rojo






Constantin Stanislavski



Este es un curioso video institucional hecho en los años 50, que critica El Método desarrollado por Stanislavski y su influencia en los Estados Unidos.






Stella Adler




"When you stand on the stage you must have a sense that you are addressing the whole world, and that what you say is so important the whole world must listen."




Stella Adler (10 de febrero de 1901, aunque pudiera haber nacido en 1898 ó 1899 – 21 de diciembre de 1992) fue una actriz estadounidense, considerada durante décadas como una de las más destacadas profesoras de interpretación. Nacida en Nueva York, Adler era miembro de la dinastía de intérpretes de origen judío americano Adler, hija de Sara y de Jacob P. Adler, hermana de Luther y de Jay Adler, y medio hermana de Charles Adler. Jacob y Sara Adler fueron dos de los mejores actores del Teatro Yiddish estadounidense. Fueron una parte significativa de un movimiento teatral que prosperó en Nueva York desde finales del siglo diecinueve hasta bien entrada la década de 1950. Stella estaba destinada a ser la más famosa e influyente miembro de la familia. Empezó su carrera interpretativa a los cuatro años de edad, y la concluyó cincuenta y cinco años después, en 1961. Durante ese tiempo, y también años más tarde, Stella Adler se dedicó a la enseñanza de la interpretación.



Fue la única actriz estadounidense que recibió clases de interpretación de Konstantín Stanislavski. Fue un miembro importante del Group Theatre, pero diferencias de opinión con Lee Strasberg sobre la correcta enseñanza del sistema Stanislavski (más adelante conocido como el Método), contribuyeron a la posterior disolución del grupo. La mayor controversia de Adler con Strasberg se refería a si un actor debía usar la técnica de la sustitución (defendida por Strasberg), recordando la experiencia personal para lograr un resultado creíble o, por el contrario, vivir el momento, usando al compañero para crear una actuación convincente.
Entre 1926 y 1952 Adler actuó con regularidad en Broadway. Con respecto al cine, únicamente intervino en tres filmes, Love on Toast (1937), Shadow of the Thin Man (1941), y My Girl Tisa (1948). Estuvo casada en tres ocasiones: la primera con Horace Eliascheff, padre de su único hija, Ellen, la segunda con Harold Clurman, famoso director y crítico teatral y uno de los fundadores del legendario Group Theater, y la última con Mitchell A. Wilson, físico y escritor fallecido en 1973. Adler falleció en Los Ángeles, California, a causa de un fallo cardiaco en 1992, y fue enterrada en el cementerio Mount Carmel Cemetery, de Glendale, Nueva York.
El centro de estudios que Adler fundó todavía funciona en Nueva York y Los Ángeles. Su método, basado en la imaginación del actor, ha sido estudiado por muchos renombrados actores, tales como Robert De Niro, Martin Sheen, Roy Scheider, Vincent D'Onofrio, Mark Ruffalo, Warren Beatty, y Benicio del Toro, además de Marlon Brando, que fue presidente de honor del mismo hasta su muerte. Adler había sido la primera profesora de interpretación de Brando, que la conoció gracias a su hermana, Jocelyn, que estudiaba drama con ella. El legado de Adler continúa con el trabajo del Stella Adler Studio of Acting.

Carrera en Broadway



Todas las obras son las producciones originales en Broadway.
The Straw Hat (1926)
Big Lake (1927)
The House of Connelly (1931)
1931 (1931)
Night Over Taos (1932)
Success Story (1932)
Big Night (1933)
Hilda Cassidy (1933)
Gentlewoman (1934)
Gold Eagle Guy (1934)
Awake and Sing! (1935)
Paradise Lost (1935)
Sons and Soldiers (1943)
Pretty Little Parlor (1944)
He Who Gets Slapped (1946)
Manhattan Nocturne (1943)
Sunday Breakfast (1952)

Pueden ver este documental en You Tube sobre la vida de esta insigne mujer.


http://www.youtube.com/watch?v=k61Nkvy-QCw

http://www.youtube.com/watch?v=pQscEf7KBM8&feature=related

http://www.youtube.com/watch?v=cBkexBVgdhg&feature=related

http://www.youtube.com/watch?v=KiD2mQOtEsE

http://www.youtube.com/watch?v=lBUHEIq0SB0&NR=1

http://www.youtube.com/watch?v=J5mFWZjBGas&NR=1

sábado, 2 de mayo de 2009

What is the Actors Studio?







WHAT IS THE ACTORS STUDIO?




The Actors Studio is a non-profit organization dedicated to the development of actors, playwrights and directors. It is NOT a school but an active studio where the members come to practice their art. Activities at the Actors Studio are for the membership only. To become a member you MUST be invited in after passing a series of auditions. Please see our Audition Information and Guideline pages for greater information.


The Actors Studio was formed in 1947 in New York City to provide a place where professional actors could work together between jobs, or during long runs to continue to develop their craft and to experiment with new forms in creative theatre work. In 1967 the Actors Studio opened its only branch in West Hollywood, California.

Membership provides a place for theatre artists to advance their craft and talents. For sixty years The Actors Studio has lived a very rich artistic existence and will endure as long as talent needs a home. It is not open to the public for tours.

The work of the Studio is made possible in part by contributions, bequests and generous gifts from patrons of the Actors Studio. Donations are tax-deductible and should be addressed to:
Deborah Dixon, Executive DirectorTHE ACTORS STUDIO432 West 44th StreetNew York, NY 10036(212) 757-0870 , extension 21

ARE THERE ANY OTHER ACTORS STUDIOS IN THE WORLD?No. There is ONLY the Actors Studio in New York City and Actors Studio West in West Hollywood. Our only official affiliations are with Pace University for our Actors Studio Drama School MFA program (which includes the Bravo Network’s INSIDE THE ACTORS STUDIO television show) and with the Rome Film Festival in Rome, Italy through 2008.

There are no other branches, studios or acting institutions officially affiliated with or partnered with this original Actors Studio. Anyone in the world using our trademarked name or logo is doing so without our approval or permission.

Please feel free to contact us to inform us of any illegal use of our name or to inquire if someone is legitimately using our name.

WHO HAS HEADED THE ACTORS STUDIO?


The Actors Studio was founded in 1947 by Elia Kazan, Cheryl Crawford and Robert Lewis in New York. Lee Strasberg served as Artistic Director in New York from 1951 until his death in 1982. In 1967, Mr. Strasberg began spending half of each year in California moderating sessions and continued doing so until 1982. Ellen Burstyn and Al Pacino became co-Artistic Directors for the following year. Ms. Burstyn then served as Artistic Director until March 1988. Paul Newman became President of the Studio from 1982 through 1994. Frank Corsaro served as Artistic Director from April 1988 through June 1995. Arthur Penn followed Mr. Corsaro as Artistic Director and President from June 1995 until 1998. In 1994 Mr. Penn stepped down as President at which time, Ellen Burstyn, Harvey Keitel and Al Pacino formed the Presidential Troika beginning in 1994 and remain as such currently. Estelle Parsons served as Artistic Director from 1998 until the summer of 2003. There were no Artistic Directors in New York for 2003/04. Beginning in the Fall of 2004 Carlin Glynn, Lee Grant and Stephen Lang shared the duties of Artistic Director for 2 years. Carlin Glynn and Lee Grant served as co-Artistic Directors in New York through 2008.

In 1967, the Actors Studio opened its only branch in West Hollywood, California. It is currently run by Martin Landau and Mark Rydell. For both the New York and West Hollywood Studios, the Executive Director is currently Deborah Dixon, who is based in New York City. Brenda Hearing is the New York Studio Administrator and Helen Sanders is the West Coast General Manager.


HOW DOES THE ACTORS STUDIO CHOOSE ITS MEMBERS?


All members of The Actors Studio have been invited into membership after passing successfully through a series of auditions. Once they are invited into membership, they are able to participate in any of the activities as well as use the facilities to advance their talent. Any professional actor over 18 years of age is eligible to audition. This consists of a five minute scene. Actors are advised to choose contemporary material close to themselves in age and experience. Auditions are presided over by Board members and long time members of the Studio. Those interested in auditions may call the New York Audition Hot Line number at 212. 946-5768 or the Los Angeles office for further information at 323.654-7125.

International Auditioners are welcome to audition only if they have already relocated to the New York area or Los Angeles area in order to participate and have a meaningful relationship with the Actors Studio. Actors from other countries must already be living close to New York City or Los Angeles in order to apply for an audition.

HOW DOES THE ACTOR BENEFIT FROM THE ACTORS STUDIO?


Once admitted to membership, the actor is free to use all the facilities of the Studio in New York and Los Angeles. Members of The Studio enjoy a number of luxuries not usually available to actors in the commercial theatre. They are free to choose their own material - classical, contemporary, published, unpublished, novel, short story, screenplay, teleplay, poem, song, dance, musical, opera, ballet, etc. The actors can also write their own material. He or she is free to pick their own part and partners, and no longer waits to be cast by others. The actor now has a home in which to work. He or she can take as much rehearsal time as necessary and can show the work, either undirected or directed. The work is commented on by members present at the session, and guidance is given by the moderator. Moderators have included; Ellen Burstyn, Frank Corsaro, Carlin Glynn, Lee Grant, William Greaves, Salome Jens, Elia Kazan, Harvey Keitel, Elizabeth Kemp, Jacqueline Knapp, Martin Landau, Stephen Lang, Andreas Manolikakis, Vivian Nathan, Al Pacino, Estelle Parsons, Arthur Penn, Sydney Pollack, Mark Rydell, Gene Saks, Christopher Walken, Eli Wallach, and Shelley Winters, among many others.
Activities and participation in any activities at the Actors Studio are for members only. To become a member you MUST pass successfully through a series of auditions and be invited in. Please see our Audition Information and Guideline pages for greater information.

DOES THE ACTORS STUDIO OFFER COURSES OR CLASSES TO ANYONE THAT IS NOT A MEMBER?


No, The Actors Studio does not offer courses or classes for non-members to apply and pay for. It is a “studio” where only its’ members can use the facilities to work in private on scenes, characters, plays,projects, alone or with other members. This is self-directed work. There are other organizations that offer courses that you pay for, such as an “acting class”. The Actors Studio is not structured to operate this way. It is not a commercial operation. The Actors Studio has been likened to be like a gymnasium for athletes. Athletes go to their gym to improve their talent, skills and techniques and the members of The Actors Studio go to the Studio to work out for the same purposes. Membership is gained solely through a free audition process. If you pass the series of auditions, you will be invited to join the membership, for free.

DOES STUDIO WORK EVER GO FURTHER THAN THE SESSIONS?


If the work shows merit, members are encouraged to develop it further with varying stages of exposure culminating with a “project” which is a fully rehearsed, staged with minimal production values, open to the public version. A large number of Studio projects have gone on to considerable commercial success: A Hatful of Rain, The Rose Tattoo, End as a Man, East of Eden, Night of the Iguana, The Zoo Story, The Death of Bessie Smith, Sundown Beach, Any Wednesday, Marathon ’33, The World of Beebee Fenstermaker, Camino Real and Sly Fox. The plays Company and Twigs came out of the Studio in Los Angeles and went to Broadway, as well as The Best Little Whorehouse in Texas which was developed at the Studio in New York.

HAS THE ACTORS STUDIO EVER GONE COMMERCIAL?


From 1948 to 1952 The Actors Studio Television Series, a pioneering experiment in National “coaxial cable” broadcasting, produced 56 shows that consistently received excellent reviews. Mostly adaptations of short stories, each program was rehearsed by Studio members at the workshop for two weeks before being broadcast live. The Studio provided acting and directing talent, as well as stage managers. The series was honored with a Peabody Award. In 1962 The Actors Studio Theatre presented Strange Interlude, Marathon ’33, Dynamite Tonight, Baby Want a Kiss, Blues for Mr. Charlie and The Three Sisters on Broadway.

CAN OUTSIDERS OBSERVE THE WORK OF THE ACTORS STUDIO?


Professional Observers’ privileges are sometimes available to actors, directors and writers with sufficient theatrical experience. Those interested should apply in writing to the Administrative Offices. A limited number of internships are available to actors and theatre professionals willing to volunteer a predetermined number of hours a week in return for the opportunity to observe a Studio session. You must apply in writing and request consideration for these limited opportunities.


ARE DIRECTORS AND WRITERS WELCOME AT THE ACTORS STUDIO?


Yes. The original Playwrights Unit was begun by Clifford Odets and Molly Kazan in 1952 and the first Directors Unit was formed by Lee Strasberg in 1960. William Inge started the Writers Unit at the Studio West and Jack Garfein formed the Directors Unit there. In the past, the Unit has been led by Elia Kazan, Joseph L. Mankiewicz and Arthur Penn.

New York has also developed the Playwrights/Directors Workshop which focuses more on scene work than full length play readings. The Actors Studio West Playwrights/Directors Unit is supervised by Lyle Kessler and Mark Rydell.

Playwrights and Directors are encouraged to use Studio members in their readings but are permitted to use non-Studio members wherever desired in their respective readings. These readings are generally moderated by leading playwrights and directors.

WHAT IS THE ACTORS STUDIO DRAMA SCHOOL MFA?


Beginning in the Fall of 1994, The Actors Studio engaged for the first time in its history in offering a Master of Fine Arts degree program in Acting, Directing and Playwriting with James Lipton as Program Chair and subsequent Dean while at the New School. After twelve years of residency, the Actors Studio Drama School re-established itself at Pace University with Andreas Manolikakis as the Chair of the program.

The Actors Studio Drama School at Pace University is a fully accredited academic three-year Masters Program. From the beginning, all MFA candidates study acting together to learn a shared “language” and technique. On parallel tracks to that “ensemble” experience, every student actor, director and writer, is undergoing intensive training in his or her own discipline, at the hands of one of the most distinguished acting, directing and writing faculties ever assembled. All core teachers are Lifetime Members of the Actors Studio and approved by the Board of Directors. The three-year program culminates in a fully professionally produced Repertory Season which is open to the profession and the public.Bridges.com, the leading provider of software-based and online education planning, career exploration, and high school/college test prep resources has singled out the Actors Studio Drama School’s MFA program at Pace University as an amazing ONE-OF-A-KIND program for students all over the USA and Canada looking for an education in acting. We are extremely proud of this very prestigious honor.

For in depth information on the curriculum and admissions, please click on www.pace.edu/ActorsStudioMFA

WHAT IS THE RELATIONSHIP BETWEEN THE ACTORS STUDIO AND THE BRAVO TV SHOW CALLED INSIDE THE ACTORS STUDIO?


The Actors Studio is a separate organization, founded in 1947, that is an active studio where its’ professional members go to work in private in order to improve upon their craft and talent.
The Actors Studio created in 1994 a separate arm to its organization that is the 3 year MFA program called The Actors Studio Drama School at Pace University. As part of this 3 year MFA program at Pace University, the third year curriculum includes a series of craft seminars that in 1995 grew into the BRAVO Network TV show called INSIDE THE ACTORS STUDIO. This craft seminar series was originally developed as a series of seminars of senior Studio members discussing how they developed their talents and careers. James Lipton has hosted and enjoyed such guests as Paul Newman, Sally Field, Shelley Winters, Robert DeNiro, Alec Baldwin, Eli Wallach, Sidney Lumet, Al Pacino, Ellen Burstyn, Faye Dunaway, Dustin Hoffman and Norman Mailer among many other great luminaries.

In 2007, Mr. Lipton was awarded an EMMY Lifetime Achievement Award for hosting INSIDE THE ACTORS STUDIO since its inception in 1995. Please note that not every guest interviewed on the show is a member of The Actors Studio but perceived to be a prominent artist our students can learn from.

viernes, 1 de mayo de 2009

Edward Albee




"Writing should be useful. If it can't instruct people a little bit more about the responsibilities of consciousness there's no point in doing it."



Edward Franklin Albee III (IPA: [ˈɔːlbiː] "AWL-bee") (born March 12, 1928) is an American playwright best known for Who's Afraid of Virginia Woolf?, The Zoo Story, The Sandbox and The American Dream. His works are considered well-crafted, often unsympathetic examinations of the modern condition. His early works reflect a mastery and Americanization of the Theatre of the Absurd that found its peak in works by European playwrights such as Jean Genet, Samuel Beckett, and Eugène Ionesco. Younger American playwrights, such as Pulitzer Prize-winner Paula Vogel, credit Albee's daring mix of theatricalism and biting dialogue with helping to reinvent the post-war American theatre in the early 1960s. Albee continued to experiment in new works, such as The Goat: or, Who Is Sylvia? (2002).

According to Magill's Survey of American Literature (2007), Edward Albee was born somewhere in Virginia (contrary to the popular belief that he was born in Washington, D.C.). He was adopted two weeks later and taken to Larchmont, New York in Westchester County, where he grew up. Albee's adoptive father, Reed A. Albee, the wealthy son of vaudeville magnate Edward Franklin Albee II, owned several theaters. Here the young Edward first gained familiarity with the theatre as a child. His adoptive mother, Reed's third wife, Frances tried to raise Albee to fit into their social circles.

Albee attended the Rye Country Day School in New York, then the Lawrenceville School in New Jersey, from which he was expelled. He then was sent to Valley Forge Military Academy in Wayne, Pennsylvania, where he graduated in 1945 at the age of 17. He enrolled in the graduate studies program at Choate prep school in Connecticut, graduating in 1946. His formal education continued at Trinity College in Hartford, Connecticut, where he was expelled in 1947 for skipping classes and refusing to attend compulsory chapel. In response to his expulsion, Albee's play "Who is Afraid of Virgina Wolf" is believed to be based on his experiences at Trinity College.

Albee left home for good when he was in his late teens. In a later interview, he said: "I never felt comfortable with the adoptive parents. I don't think they knew how to be parents. I probably didn't know how to be a son, either." More recently, he told interviewer Charlie Rose that he was "thrown out" because his parents wanted him to become a "corporate thug", and didn't approve of his aspirations to become a writer.

Albee moved into New York's Greenwich Village, where he supported himself with odd jobs while learning to write plays. His first play The Zoo Story, was first staged in Berln. The less than diligent student later dedicated much of his time to promoting American university theatre. He frequently spoke at campuses and served as a distinguished professor at the University of Houston from 1989 to 2003.

Honors

A member of the Dramatists Guild Council, Albee has received three Pulitzer Prizes for drama — for A Delicate Balance (1967), Seascape (1975), and Three Tall Women (1994); a Special Tony Award for Lifetime Achievement (2005); the Gold Medal in Drama from the American Academy and Institute of Arts and Letters (1980); as well as the Kennedy Center Honors and the National Medal of Arts (both in 1996).

Albee is the President of the Edward F. Albee Foundation, Inc., which maintains the William Flanagan Creative Persons Center, a writers and artists colony in Montauk, New York. Albee's longtime partner, Jonathan Thomas, a sculptor, died on May 2, 2005, from bladder cancer.

In 2008, in celebration of Albee's eightieth birthday, a number of his plays were mounted in distinguished Off Broadway venues, including the historic Cherry Lane Theatre. The playwright directed two of his one-acts, The American Dream and The Sandbox there. These were first produced at the theater in 1961 and 1962, respectively.


The Zoo Story (1958)
The Death of Bessie Smith (1959)
The Sandbox (1959)
Fam and Yam (1959)
The American Dream (1960)
Who's Afraid of Virginia Woolf? (1961-62)
The Ballad of the Sad Cafe (1963) (adapted from the novella by Carson McCullers)
Tiny Alice (1964)
Malcolm (1965) (adapted from the novel by James Purdy)
A Delicate Balance (1966)
Breakfast at Tiffany's (1966)
Everything in the Garden (1967)
Box (1968)
All Over (1971)
Seascape (1974)
Listening (1975)
Counting the Ways (1976)
The Lady From Dubuque (1977-79)
Lolita (adapted from the novel by Vladimir Nabokov) (1981)
The Man Who Had Three Arms (1981)
Finding the Sun (1982)
Marriage Play (1986-87)
Three Tall Women (1990-91)
The Lorca Play (1992)
Fragments (1993)
The Play About the Baby (1996)
The Goat or Who is Sylvia? (2002)
Occupant (2001)
Knock! Knock! Who's There!? (2003)
Peter & Jerry retitled in 2009 as At Home at the Zoo (Act One: Homelife. Act Two: The Zoo Story) (2004)
Me, Myself and I (2007)


Entrevista que le hizo Charlie Rose a Edward Albee, 27 de Mayo del 2008

http://www.charlierose.com/view/interview/3206

http://www.charlierose.com/view/interview/9105

http://www.charlierose.com/view/interview/2526

Elio Palencia - Excelente Dramaturgo


Nacido en Maracay, Venezuela, en 1963, define su vocación por el arte dramático tras participar en el teatro universitario, del que pasa a la escena profesional. Como actor, ha trabajado en elencos de compañías como Rajatabla y La Compañía Nacional, participando en montajes de autores como I. Chocrón, F. de Rojas, L. Pirandello, J. Ruiz de Alarcón, W. Shakespeare, C. Goldoni, C. Rengifo, A. Miller, R. Mahieu y J. I. Cabrujas; bajo la dirección de Carlos Giménez, Román Chalbaud, Ugo Ulive y José Ignacio Cabrujas, entre otros. Posteriormente, inicia su andadura como dramaturgo, a partir de los Talleres del Centro de Estudios Latinoamericanos Rómulo Gallegos –CELARG- y como director de escena en el Centro de Directores de la Fundación Rajatabla. En 1990 participa en la fundación de Urbe, colectivo teatral. Su carrera en el TEATRO ha ido paralela a su trabajo para la TELEVISIÓN donde ha formado parte de equipos de programas de ficción, como guionista, argumentista y coordinador de proyectos. Como autor de teatro ha escrito más de veinte textos para adultos y niños, así como adaptaciones y versiones de algunas novelas. Algunas de sus piezas han sido publicadas por el Centro Literario Rómulo Gallegos (CELARG), Instituto de la Juventud de España, Fundación Editorial “El Perro y la Rana”, Fundarte y la Revista teatral de Casa de las Américas de Cuba, “Conjunto”. Su trabajo en la dramaturgia se ha caracterizado por la vinculación con los centros de producción, investigación y el trabajo actoral. Muchos de sus textos han sido el resultado de talleres en los que se contempla la relación autor-director-actores, a través de dinámicas de grupo, improvisaciones y otros ejercicios, como premisa de creación. Ha recibido premios entre los que destacan el “Marqués de Bradomín” para Jóvenes Autores de España -1993- y, en Venezuela, “Esther Bustamante”, 1988; “Juana Sujo”, 1989 y 1990; Puesta en Escena “Carlos Giménez”, Mejor Propuesta escénica en el “II Festival de Directores para el Nuevo Teatro”, 1989, “Orden José Felix Ribas, en 2ª clase”, Premio “Marco Antonio Ettedgui” de la Fundación Rajatabla en su primera edición, 1990, Premio CELCIT, Mejor Auror 2004 y por dos años consecutivos (2007 y 2008) el Premio Municipal de Teatro “José Ignacio Cabrujas” como autor más destacado del año. En España, donde residió entre 1991 y 2004, ha colaborado con salas del Teatro Alternativo como Cuarta Pared, El Canto de la Cabra y Teatro de Las Aguas, ha sido Coordinador de publicaciones y eventos especiales con el Centro Latinoamericano de Creación e Investigación Teatral (CELCIT-Madrid), colaborando en el FIT de Cádiz, Badajoz, el FIT de Títeres de Bilbao, La Casa de América y la revista Primer Acto. Ha participado en Festivales internacionales de Nueva York, Madrid, Cádiz, Badajoz, Lisboa, San Francisco, Miami, México, San Juan, La Habana, Caracas, San Salvador y San José de Costa Rica. Ha participado en eventos como el Aula Iberoamericana de Teatro, el Encuentro 2000 de jóvenes creadores, el Simposium “Stanislavski en un mundo en evolución”, en Moscú, URSS y “Literatura y Compromiso”, en España. Ha dictado talleres de creación teatral (dramaturgia e interpretación), en la Escuela Cuarta Pared (Madrid), el Taller Nacional de Teatro de Rajatabla y Monteávila Editores (Caracas). Entre sus trabajos para televisión cuentan colaboraciones con las productoras hispanas Globo Media , Fernando Colomo PC y BocaBoca TV para series de ficción transmitidas en Televisión Española y Tele5 (“Al salir de clase”, “Famosos y Familia” “El Grupo”) . En Venezuela, ha formado parte del Staff de escritores de Coraven-RCTV y de Venevisión, trabajando como libretista de telenovelas de autores como Ibsen Martínez, Perla Farías, Leonardo Padrón, Indira Páez, Salvador Garmendia, Alberto Barrera y Mónica Montañes, entre otros. En cine, ha participado en varios cortometrajes y ha sido guionista del largo “Detrás de la Avenida” para Gente de Cine junto al cineasta Román Chalbaud. Recientemente, la Fundación Villa del Cine de Venezuela ha culminado el rodaje de su guión “Una casa pa’ Maíta”, bajo la dirección de Eduardo Barberena, basada en su premiada pieza “La Quinta Dayana”.


Se pueden conseguir sus obras en http://www.eliopalencia.com.ar/sec/biografia.php