#Acting Lessons

[jadejackles]

Deviation . Dean Winchester . Acting lessons by Jensen Ackles

[zebrastudio79]

At Zebra Studio, students are provided with a well-structured curriculum that covers all aspects of acting, including voice modulation, body language, facial expressions, script analysis, and improvisation. The faculty at Zebra Studio comprises of experienced theatre practitioners, film directors, and acting coaches, who bring their expertise and insights to the classroom.

The institute offers a range of courses, including a full-time diploma in acting, a part-time weekend course, and short-term workshops. The courses are designed to cater to the needs of aspiring actors at different levels of expertise, from beginners to advanced learners.

[lets-talk-spirituality]

How can we not invest in the character then 🧍

By remembering your souls essence. Separate the part (human ego/personality) from you as an essence. They may be similar but they aren’t the same.

[jhsharman]

Dashing

[k12academics]

Tranforming Lives Since 2003

https://www.k12academics.com/sites/default/files/MTC%20-%202015%20SUMMER%20STAGE_The%20Lion%20King%20(2)_10.31.16.jpg

[closetnerd62]

My face when my acting teacher told me I didn’t get a role because my acting wasn’t “big enough” when I’ve spent my whole life trying to make my actions smaller and less bothersome other people

[poorly-drawn-mdzs]

Not beating the allegations.

[First] Prev <–-> Next

[filmcourage]

Directing Actors: Creating Memorable Performances For Film & TV - Judith Weston [FULL INTERVIEW] via FilmCourage.com.

[lunian]

only these two let me truly know when i fcked up bad😔

[somepinkthing]

"Hector was a good man" "diomedes was an honorable man" BZZZT WRONG. Diomedes was there to steal, burn, and wage war same as the next person. In fact, he was pretty adamant about it. Hector had no issue with the greek's actions, merely that they were directed at him—I mean look at what he wanted to do with patroclus's body, only to then cite respect for funeral rites when it was his own turn to die. Hector also owned slaves within his own city walls—people that he likely took from their homes during troy's own conquests. All that seperated him and the greek warriors was which side they were on.

The Iliad isn't a story about morally upstanding men. Sure, it has men who have honor and perform honorable acts, but these are not good samaritans. It's is a story about war and grief and the real victims of fights between so-called-honorable men and gods. The urge to find a "good guy" in this story is wasted. Hector doesn't have to be morally good just because achilles isn't. Troy didn't lose because they were more or less evil than the greeks. It all just. Is. Because of fate? Because the gods said so? Because people will always make disastrous mistakes and it will always end up biting not only them, but everyone else around them? Who knows? In the end though, doesn't it all feel so pointless in the face of the endless amounts of grief and destruction that war leaves behind? Maybe that's the whole point

[bet-on-me-13]

Talia took a 20+ Year Undercover mission a while ago

So! Talia is the Daughter of Ra's Al Ghul, and has been alive and at his side for many years now. Decades even. She is well into her 100's, even though her physical Body looks like that of a 20 yr old.

And in all the years that she has lived, what's to say she didn't take a few years off as a vacation? Even Ra's must take a few years off every once in a while, leaving to spend time on some remote island he can relax on for once. So, one day in the Early 80's she decided to do the same.

But she wouldn't be completely relaxing, she would take the break to further the League's goals still. She decided to Dye her Hair, change her Name, get into an acceptable College, and study Lazarus Waters to their scientific limit. She decided to name if Ectoplasm, to avoid any unwanted attention.

And while there, she met a pair of men doing the exact same.

Jack and Vladimir were nice enough. Although their Research was more focused on Ghosts, or as she would call them, Pit Demons. They were convinced that Ectoplasm and Ghosts came from another Dimension, and if they could find a way to open a Dimension Gateway to this theoretical Ghost Zone, they could aquire Limitless Clean Energy (and maybe find a way to contain the Ghostly threat).

Over the years, Talia Maddie would fall for Jack. Eventually, even after she had completed her College Studies and Vlad had left contact with them, she decided to extend her Vacation to further study Ectoplasm with Jack. One thing led to another, and eventually she found herself pregnant. And then it happened again.

Jazzmine and Daniel were the cutest little babies. But she knew the danger they would be in if it was ever discovered that she was their Mother, so she trained them in everything she could so they could survive. She knew her time as Maddie Fenton was coming short, but she resolved to stay, at the very least until Jazz was an Adult.

She didn't account for Daniel becoming a Small Town Hero, but those were just the Trials of motherhood.

Then, the day came. She left a note on her bedside table explaining that she regretted what had to happen, and left in the middle of the night. It was better this way.

...

The year right after she returned, her Father forced her to have a Child with his most prospective Heir. The Bat, he called himself. Oh he was Charming, there was no denying that, but unfortunately she was still working through her feelings about Jack.

She treated her resulting child poorly because of that, and that she regreted it deeply. She loved him, honestly she did, but it was hard to look at him and not remember Daniel. Still, she persevered.

The day she once again had to give up her son for his protection was the hardest of her life.

But it was unavoidable. The Coup that had taken her Father's life had also fractured the Organization, anyone could have taken their shot at her Son as the rightful Heir. She needed to protect him as she took care of the Traitors.

...

Damian always knew he was the One True Heir. It was his defining character trait for his early years of life. Even though he had grown to be more than just that over recent years, he always felt like it was a key part of his identity.

Until now.

Because the BatComputer had just finished running a DNA Test on the Blood of a man who he had spotted on his Patrol the previous night.

A DNA Test that had come back, with results claiming that the man, who looked almost exactly like a younger male version of his Mother, was his Half Brother.

[mxtxfanatic]

I would also like the mdzs fandom to stop inventing turmoil between Jiang Fengmian and Jiang Yanli just because Jiang Fengmian had a strained relationship with Jiang Cheng. There’s nothing to say that the father-daughter duo had issues, that Jiang Fengmian was neglectful (to either of them, tbh), or that he was indifferent to his daughter's presence. You feeling like Jiang Yanli is disappeared into the background of her family life because she, like her father, doesn't have a lot of scenes is not supported by the canon. While we don’t get a lot of interactions between them (because there is literally no plot or conflict to highlight), what we do get is Jiang Fengmian sticking up for his daughter and terminating a marriage contract that his abusive wife set up, something even Jin Guangshan was afraid to do:

[Jiang Fengmian] told Jin Guangshan, “The engagement was originally made at the insistence of Ah-Li’s mother. I never agreed with it. Given what happened today, it seems both sides aren’t very fond of each other, so it’s best not to force the issue.” Startled, Jin Guangshan hesitated a bit. Regardless of the situation, ending an engagement with a member of another Great Clan was never a good thing. “What do children understand? Let them fight. Fengmian-xiong, we need not take notice.” “Jin-xiong, though we can help them arrange a marriage, we can’t live the marriage for them. In the end, they are the ones who will spend their lives together.” This marriage business wasn’t Jin Guangshan’s idea in the first place either. From the perspective of consolidating power through a marriage alliance, the Yunmeng Jiang Clan would not be his first choice, nor was it the best choice. The engagement had happened only because he was perpetually afraid of opposing his wife. But in any case, since the Jiang Clan had brought it up of their own accord, and Jin Clan was on the male side of the arrangement and thus had fewer things to be concerned about, it was not necessary to remain entangled. Besides, he knew Jin Zixuan wasn’t happy with having Jiang Yanli as his fiancée. After giving it serious consideration, Jin Guangshan found his backbone and he agreed.

—Chapt. 18: Elegance VIII, fanyiyi

We get him hand-making kites with her to decorate for Wei Wuxian, Jiang Cheng, and the rest of the disciples to play with:

Back when Wei Wuxian lived at Lotus Pier, he had played the kite shooting game with the disciples of the Jiang Clan and had placed first many times. ... Jiang Fengmian had constructed the frame himself and Jiang Yanli had drawn the design. Thus, whenever Wei Wuxian and Jiang Cheng had taken their kites out to compete, they had felt a kind of pride.

—Chapt. 32: Morning Dew V, fanyiyi

We get them having family dinners often enough that Wei Wuxian seems worried that he would miss one right before the Wen show up to Lotus Pier:

Wei WuXian asked, “Uncle Jiang went out so early in the morning —why hasn’t he come back yet? Would he make it in time for dinner?”

—Chapt. 57: Poisons, exr

We get him having no qualms with Jiang Yanli's hobbies such as cooking, even seems eager to partake in her creations—if we assume he hasn't before:

With a smile, Jiang YanLi wiped Wei WuXian’s mouth and chin, and walked happily out with the bowl in her hands. Jiang FengMian sat down where she had been sitting. Glancing at the porcelain jar, he seemed as if he wanted to taste it as well, but the bowl had already been taken away by Jiang YanLi.

—Chapt. 56: Poisons, exr

The reason why Jiang Cheng thinks his father hates him is because he takes any whiff of disapproval from his father to mean hatred, a trait he picked up from and that is nourished by his mother's own insistence that Jiang Fengmian "must" hate her son for being like her:

The founder of the YunmengJiang Sect, Jiang Chi, was born a rogue cultivator. The ways of the sect were honest and unrestrained. Madam Yu’s manners were the exact opposite. And, both Jiang Cheng’s looks and personality took after his mother. He hadn’t ever been to Jiang FengMian’s liking. Since birth, he taught him in many ways, yet he still couldn’t change, which was why Jiang FengMian had always seemed as though he didn’t favor him too much.

—Chapt. 56: Poisons, exr

The founding father of the Jiang Clan of Yunmeng, Jiang Chi, came from a knight-errant background. The family was exuberant, honest, magnanimous, and carefree in its ways —all of which were in complete opposition to Madam Yu’s spirit. Jiang Cheng took after his mother in looks and personality, which had never been to Jiang Fengmian’s liking. He had tried to educate Jiang Cheng in a myriad of ways, but it had all been for naught. This was why it always appeared as though he didn’t favor his son.

—Volume 3, Chapt. 12: Sandu: The Three Poisons, 7seas

Notice how it doesn't say that Jiang Cheng, himself, was never to Jiang Fengmian's liking, but that Madam Yu and her personality type that Jiang Cheng inherited was never to his liking, and it only "seemed/appeared" that Jiang Fengmian did not favor his son because he spent a lot of time trying to correct Jiang Cheng's bad habits, something Jiang Cheng resented. Notice how it also does not say that Jiang Fengmian avoided or ignored his son. In fact, we are told that he tried different ways to teach Jiang Cheng, a futile action we see him still committed to even up to the fall of Lotus Pier. Jiang Fengmian never gave up on his son. Jiang Cheng gave up on himself as Jiang Fengmian's son. None of that has to do with how the Jiang Fengmian and Jiang Yanli interacted in life nor how Jiang Yanli felt about her parents in death, still visiting their tablets regularly to clean and talk to them:

Jiang YanLi was kneeling in the ancestral hall. She cleaned her parents’ memorial tablets as she whispered. Wei WuXian poked his head inside, “Shijie? Talking to Uncle Jiang and Madam Yu again?”

—Chapt. 71: Departure, exr

To say that Jiang Fengmian is a terrible father simply because Jiang Cheng is more comfortable believing his mother’s lies than understanding that unconditional love does not mean unconditional tolerance for poor behavior does Jiang Fengmian’s character a disservice. To say that Jiang Fengmian is a terrible father to Jiang Yanli based on Madam Yu and Jiang Cheng’s own fantasies of victimhood is just an extra unnecessary lie to give credence to an idea that the story proves untrue. At worst, Jiang Fengmian was a man reserved in physical displays of affection that could have stood to hug his son more if that was what Jiang Cheng truly wanted. But if we are being truthful, Jiang Fengmian's just a regular fucking guy juggling raising kids and leading a clan with deterring his abusive wife from turning his home into a battlefield any time she deigns to show her face. Whatever issue you think Jiang Yanli and Jiang Cheng should have with their upbringing, the locus of the problem is named Yu Ziyuan, not Jiang Fengmian.

[zebrastudio79]

Acting Course in Kolkata. Get more information about it.

[fellthemarvelous]

Holy forking shirtballs

I'm choosing violence today. I started this on Twitter, but I'm going to finish my thoughts here like I always do.

But what really blows my mind the most is the way that people look at Aziraphale's "choice" at the end, as if he had one to fucking begin with.

I'm sorry, but Aziraphale knows how messed up Heaven is. He told The Metatron, more than once, that he did not want to go back to Heaven! We can debate what each of us means by "choice" all night because my "choice" and your "choice" might be two different concepts. He could have been strong armed by The Metatron or he could have looked at where things were headed and realized he had no choice but to intervene himself.

You need to ask yourself what Aziraphale has a moral imperative to do.

What do we owe to each other?

Seriously, if you have not watched The Good Place, I recommend you go and watch it, because it absolutely shaped how I've viewed Good Omens 2 since its release.

My levels of frustration with the bad faith mischaracterizations of Aziraphale are off the charts. If you are blaming him for everything, implying that he should have to grovel and that Crowley has a right to hurt him back, you have missed the point of Good Omens entirely.

I defend Aziraphale, but I don't think one of them is more right or wrong than the other. They're equals. They're a group of the two of them, acting and reacting to each other throughout history. They're Alpha Centauri.

I cannot even begin to explain how fucking devastated I felt when Crowley said these words, knowing he was fighting a losing battle. What he said took a lot of courage because he's finally admitting something they've both been too scared to publicly define for 6,000 years. Crowley has had to spend so long with a rough outer shell because he fell and had to hide all of his softness.

The look on his face was one of pure joy when he created that nebula, but I think the fact that he got to share that moment with Aziraphale is what has always stuck with him.

So yeah, seeing Crowley with a broken heart at the end of "Every Day" was sad for me as well.

My brain still lives here!!

But Neil has said that Good Omens 3 is not quiet, gentle, or romantic. I imagine it's going to be more like the the first season in which they are not central to the plot. GO2 will help us make sense of how they ended up where they are when we see the bigger picture with all the other major players involved with GO3.

Aziraphale was still a soldier and accidentally got himself discorporated in his own magic circle in season one. He had a platoon waiting on him to start Armageddon, and he deserted them to go save the world with Crowley instead. Aziraphale is a deserter. I need everyone to remember that. He yeeted himself out of Heaven and sought out Crowley before even locating a body just to warn him about what was happening so they could try to save the world together.

I can't help but think of 1941 and that magician who had been arrested for being a deserter.

Aziraphale disobeyed orders. That took courage but it branded him as a traitor against Heaven. They tried to destroy him for it the same way Hell tried to destroy Crowley for his part in stopping the war.

Aziraphale and Job are the only characters we have seen interacting with God directly. Aziraphale has spoken to God before and he is determined to do so again.

Aziraphale knows Heaven is flawed, but he also knows it's supposed to be good. He wants it to be good. He does not like the way the system works and he wants to make a difference. (And I'm pretty sure he's also determined to talk to God without being intercepted by The Metatron.)

Since when is that a bad thing? I don't get it. And I've had this discussion before.

If you need to change the system by burning the old one to the ground, it's still change, and we don't know what Aziraphale has planned.

It seems to me that people just want to see Aziraphale fail because it would punish him for returning to Heaven instead of running off with Crowley.

Some of y'all take everything Aziraphale says or does and twist those things into malicious anti-Crowley actions because you think the only reason Aziraphale exists is to make Crowley happy, and if he isn't thinking only about Crowley then he's doing something wrong.

Aziraphale does not exist as a plot device to further Crowley's character. They come as a pair. They've been learning from each other for 6,000 years. Crowley challenges Aziraphale just as much as Aziraphale challenges him.

You can be mad at Aziraphale all you want, but villainizing him is gross. Defending Crowley does not mean you have to tear down and mischaracterize Aziraphale anymore than defending Aziraphale means you have to tear down Crowley (but I don't see that happen on nearly the same level it happens to Aziraphale). Stop painting Aziraphale as an abusive partner, for fuck sake.

Aziraphale knows there are flaws in the system. He wants to make a difference, and since he has seen that Gabriel can change, then maybe the whole system can. He has to at least try, and if he can succeed then maybe he and Crowley can stop hiding and finally be together without having to look over their shoulders all the time.

Why is that a bad thing? He's just as protective of Crowley as Crowley is of him!

But don't forget that Aziraphale's wing was covering Adam and Eve too. As much as a wants to protect Crowley, he has a moral imperative to keep humanity safe as well.

He sent Adam and Eve into the unknown with a flaming sword so they could protect themselves.

As much as he wants to be with Crowley, there are 8 billion people on Earth heading toward the Second Coming and Judgment Day. They'll work together to fight alongside humanity in the end. Aziraphale should not have to humiliate himself just to earn Crowley's forgiveness. That's a rancid notion.

The Resurrectionist was a whole ass moral dilemma for Aziraphale, which is why I brought up The Good Place earlier, but that's a post for a different time.

Aziraphale has his own motivations and they're just as important as Crowley's, and they don't have to be chalked up to Aziraphale being the bad guy. Weird, I know, but shades of grey.

"To the world."

[k12academics]

American Conservatory Theater (A.C.T.) is the Tony Award-winning nonprofit theater in San Francisco. Founded in 1965 by William Ball, A.C.T. continues to be the premier theater in the San Francisco Bay Area for actors to push themselves further, explore their craft, and grow as artists. Through our Conservatory training programs, A.C.T. is committed to forging the artists of tomorrow, with a lifelong investment in theater. Located in the heart of San Francisco, A.C.T. was the first theater not affiliated with a US college or university to be accredited to award a Master of Fine Arts degree. We have since expanded our Conservatory training to offer accredited short-term and long-term program options for aspiring or working actors and performers. Danny Glover, Annette Bening, Denzel Washington, Elizabeth Banks, Camryn Manheim, Darren Criss, and Anika Noni Rose are among the Conservatory's distinguished former students who now have renowned careers in theater, film, and television. With our commitment to excellence in actor training and to engaging the relationship between training, performance, citizen artistry, and audience, the A.C.T. Conservatory has moved to the forefront of America's theater schools and artistic community. Change your life and change the world with A.C.T.'s Conservatory training. Learn more at ACT-SF.ORG/CONSERVATORY

MASTER OF FINE ARTS

Study, grow, and perform your craft at a Tony Award-winning professional theater company, surrounded by three full seasons of mainstage shows and a vibrant Bay Area artistic community. A.C.T.'s Master of Fine Arts Program is a rigorous 3-year course of training, which prepares actors to succeed in all aspects of the profession, with a primary goal of preparing artists for a lifelong investment and career in theater.

Program: 3 years

Applications: Open every September--applications will open this fall 2020 for MFA class of 2024. Requirements: Successful applicants must (1) be 19 years of age or older, and (2) have successfully completed their undergraduate (US equivalent of Bachelor of Arts) education in acting or demonstrate an equivalent level of experience in acting.

SAN FRANCISCO SEMESTER

Uniquely SF, Uniquely A.C.T. Embark on the San Francisco Semester, a 15-week study-away program, and connect with the eclectic Bay Area community. This immersive and extensive experience combines internationally recognized professional actor training with theatrical and cultural immersion in the heart of San Francisco and A.C.T.'s season of mainstage productions.

Program: 15 weeks

Applications: Open twice every year, for Fall or Spring Semesters--Apply by May 15, 2020 for Fall Semester. Classes begin August 31, 2020 Requirements: Successful applicants must (1) be 18 years of age or older by the start of their desired class-date, and (2) must have successfully completed their secondary (US equivalent of high school) education or demonstrate an equivalent level of experience in acting.

SUMMER TRAINING CONGRESS

Whether you're a working actor or an aspiring professional, make the most of your summer with intensive, comprehensive actor training in San Francisco. Elevate your craft with A.C.T.'s Summer Training Congress, our longest-running training program offering a 5-week Core Skills Intensive, a 2-week Shakespeare Intensive, or the option to combine both for the total 7-week actor package.

Program: 2 weeks, 5 weeks, or 7 weeks

Applications: Open every January

Requirements: Successful applicants must (1) be 18 years of age or older, and (2) have successfully completed their secondary (US equivalent of high school) education or demonstrate an equivalent level of experience in acting.

STUDIO A.C.T.

Expand your creativity with Studio A.C.T.--the part-time acting school at the Tony Award-winning American Conservatory Theater. Studio A.C.T. offers exciting, rewarding classes for adults of all backgrounds and levels of experience in Acting, Voice, Audition Technique, Musical Theater, Playwriting, On-Camera Technique, Movement, Clown and much more--all taught by some of the finest local professional artists in the industry. Our 4-week and 8-week courses earn college credit and are scheduled for nights and weekends to accommodate work and home commitments. We also offer 1-week Intensives and 1-day Master Classes with local, national and international guests.

Program: Varies by class--1 day, 1 week, 4 weeks, or 8 weeks

Applications: No need to apply; just sign up!

Classes: Offered seasonally--Summer, Fall, Winter, Spring

Requirements: Students must be 19 years of age or older.

YOUNG CONSERVATORY

Develop your talents, character, and imagination with A.C.T.'s Young Conservatory. The Young Conservatory is an internationally recognized professional theater training program for students ages 8- 19, in grades 3-12. YC offers professional theater training and performance opportunities throughout the year for both beginners exploring acting for the first time, as well as young actors with previous experience. Classes are designed to develop imagination, concentration, character, professionalism, and technique. Our faculty are working theater professionals who are particularly skilled in working with young actors to strengthen students' command of their bodies and voices.

Program: Varies by class--1 week, 2 weeks, 4 weeks, or 8 weeks.

Applications: No need to apply; just sign up! (Some programs by audition only)

Classes: Offered seasonally--Summer, Fall, Winter, Spring

Requirements: Students must be 8-19 years of age.

Duration: Varies--see specific program details for more information. Session Start/End Dates: Varies--see specific program details for more information. Program Costs: Varies--see specific program details for more information. Scholarship Availability: Available--see specific program details for more information.

Duration: Varies—see specific program details for more information.Session Start/End Dates: Varies—see specific program details for more information.Program Costs: Varies—see specific program details for more information.Scholarship Availability: Available—see specific program details for more information.Program Highlights:

MASTER OF FINE ARTS

Set the stage for your career.

Professional actor training for a life in the performing arts.

Program: 3 years

Applications: Open every September

Requirements: Successful applicants must (1) be 19 years of age or older, and (2) have successfully completed their undergraduate (US equivalent of Bachelor of Arts) education in acting or demonstrate an equivalent level of experience in acting.

act-sf.org/mfa

SAN FRANCISCO SEMESTER

Uniquely SF. Uniquely A.C.T.

Immersive and extensive actor training in the heart of San Francisco.

Program: 15 weeks

Applications: Open twice every year, for Fall or Spring Semesters--Apply by May 15, 2020 for Fall Semester. Classes begin August 31, 2020

Requirements: Successful applicants must (1) be 18 years of age or older by the start of their desired class-date, and (2) must have successfully completed their secondary (US equivalent of high school) education or demonstrate an equivalent level of experience in acting.

act-sf.org/sfs

SUMMER TRAINING CONGRESS

Intensive, Comprehensive Actor Training.

For working and aspiring actors looking to elevate their craft.

Program: 2 weeks, 5 weeks, or 7 weeks

Applications: Open every January

Requirements: Successful applicants must (1) be 18 years of age or older, and (2) have successfully completed their secondary (US equivalent of high school) education or demonstrate an equivalent level of experience in acting.

act-sf.org/stc

STUDIO A.C.T.

Real theater classes for real people.

Part-time theater classes for adults looking to expand their creativity.

Program: Varies by class--1 day, 1 week, 4 weeks, or 8 weeks

Applications: No need to apply! Just sign up!

Classes: Offered seasonally--Summer, Fall, Winter, Spring

Requirements: Students must be 19 years of age or older.

act-sf.org/studio

YOUNG CONSERVATORY

Develop Your Character.

Professional theater training for ages 8-19.

Program: Varies by class--1 week, 2 weeks, 4 weeks, or 8 weeks.

Applications: No need to apply! Just sign up! (Some programs by audition only.)

Classes: Offered seasonally--Summer, Fall, Winter, Spring

Requirements: Students must be 8-19 years of age.

act-sf.org/yc

College Credit: A.C.T. is accredited by the Accrediting Commission for Senior Colleges and Universities of the Western Association of Schools and Colleges (WASC, 985 Atlantic Avenue, Suite 100, Alameda, CA 94501, 510.748.9001), an institutional accrediting body recognized by the Council on Postsecondary Education and the U.S. Department of Education.

[ghosthorse]

getting really emotional about how dubenich picks the leverage crew because they only ever work alone, and in both the nigerian job AND the last dam job the way they outsmart him is to go find people they trust and ask for help.