Taller de Trabajo Actoral

2022-08-09 00:00:00

Más allá del método, una forma revolucionaria ...

2022-08-08 00:00:00

Más allá del método, una forma revolucionaria de ver la actuación y vivir la vida CURSO INTENSIVO SOBRE SUBPERSONALIDADES... VACANTES AGOTADAS !!!

Curso Avanzado de Subpersonalidades

2022-08-07 00:00:00

Emotions what language do they speak?

2012-03-29 00:00:00

Emotions what language do they speak?

The answer is simple: Every language known to man!

EMOTIONS ARE A UNIVERSAL LANGUAGE.

You can turn the volume down on your tv or you can see a foreign film without understanding the language it was filmed in. Much like silent movies, if you really look and see what is happening between the players you will fully understand what they are feeling and what the conflict is. REAL EMOTIONS TRANSEND ALL BARRIERS.

MUCH LIKE MUSIC which is also a universal language. You can listen to a song in a language you do not understand and be moved to tears.

I usually give my students the following example when we are talking about the importance of emotions and being real and honest:

When you are hearing singers in any type of program like for example " American Idol" you find yourself drawn to simgers that sometimes are not the ones who have exactly the best technique or vocal range but to that one person who is feeling the song so much, who is actually telling you a story and he/she is making you feel what they are feeling!

I live in Argentina and the language spoken here is Spanish. Sometimes I have a student come up to me and ask me about a song in english he or she heard on the radio. They tell me "it made me cry or it made me sad or it made me feel sexy". The thing is these people who come and ask me do not speak or understand english. But they do understand and feel emotions!!!

DO YOU UNDERSTAND WHAT I AM GETTING AT? REAL EMOTIONS WILL GET YOU EVERYTME!! EVERYTIME!

Real emotions penetrate the very core of your being.

When you are sitting in a theater watching a play it doesnt matter if you are seated in the first row or in the last one if what is happening on stage is REAL.

Try watching a silent movie and experiment what happens to you while watching it.

I highly recommend you see: THE ARTIST.

Until next time!

Jackie

Que es el TALENTO

2012-05-17 00:00:00

Que es el TALENTO:

El Talento es la habilidad de ser afectado por una gran variedad de estimulos y poder expresar la respuesta a esos estímulos de forma imaginativa, colorida e individual.

Eric Morris

Nadie les puede enseñar TALENTO ni lo van a aprender en una clase de actuación. El talento esta adentro de ustedes y lo pueden alimentar con conocimientos.

El proceso de usar tu instrumento, De tenerlo disponible y libre para ser orgánico, es un trabajo que dura toda la vida. Porque el instrumento son ustedes mismos y están en constante cambio a través de sus vidas. Cada momento, cada situación, cada alegría como así cada tristeza, nos va modificando. Más te conoces más disponible estás para poder prestarle tu vida emocional a esos personajes que queres crear. Solamente a través de la verdad y la empatía podemos recrear historias y emociones que afecten y conmuevan.

El arte viene de la verdad y no puede ser estimulado de ningún otro lugar. No importa que técnica use el Artista, no se puede crear verdad desde ningún otro lugar que la misma verdad.

Para esto, uno se debe conocer en profundidad.

Una manera muy importante de hacerlo, es a través del trabajo de SUBPERSONALIDADES.

Veni a conocerte mejor..... Veni y alimenta tu TALENTO.

FOOD FOR THOUGHT

2012-09-20 00:00:00

FOOD FOR THOUGHT.

Reflecting on important concepts:

I recently came back from New York and started thinking about what I usually tell my students about talent, being prepared and being lucky.

We are all original. We might share "similarities" like names, hair color, eye colors, height, fashion styles, food choices, etc... But there is no one like us in the world... but us.

We are like our fingerprint "ONE OF A KIND". That my friend is what you have to show the world. When it comes down to an audition or showing who you are, you have to do just that... SHOW WHO YOU ARE. What makes you shine? What do people see when you walk into a room? What makes you unforgettable? These are things you should know about yourself because those things will set you apart from everyone else who might share "similarities" with you.

TRUST:. A very important word. You must TRUST yourself. If you know who you are and what sets you apart than you can go and show it. If you don't believe in yourself...NO ONE WILL.

BEING PREPARED: You have to be prepared for the life you want to live. LUCK IS WHEN PREPERATION MEETS OPPORTUNITY. Take classes, develop your talent. Study, observe, read, watch movies, see theater. NO ONE WILL TEACH YOU TALENT. that is something you bring to the table. But just like an athlete who has conditions to be the best, he or she still has to train and train hard.

LUCK: Well.... we all need a little bit of that. But that alone will not get you were you need to be. So don't stay at home waiting for luck to come knocking at your door. Go out there and get what you want. AND... remember this........ doing what you love, what you are really passionate about is not synonymous with being famous. Don't feel that if you are not working in a BIG BUDGET movie you have not succeeded. Don't feel that if you are not famous then you are not successful. Don't feel that if you are not 20 it is now too late for you. Don't feel that you have to look like a model to make it.... because that IS NOT TRUE. All these things are NOT TRUE!!

Success is being able to do what what you love. SUCCESS and FAME do not mean the same thing. There are people who are just famous for being famous and have no specific talent. There are also those who are very successful at what they do..... but are not known or as they say "Famous".

UNDERSTAND the difference, this is very important!

BE HONEST AND BE REAL...... DON'T TRY TO BE ANYONE ELSE.

DO YOU KNOW WHY WE LOVE THE ACTORS WE LOVE AND WANT TO SEE THEM OVER AND OVER AGAIN? BECAUSE THEY HAVE THE COURAGE TO SHOW US WHO THEY REALLY ARE AND WE LIKE THAT....

IF YOU GO THROUGHOUT LIFE JUST IMITATING THOSE YOU ADMIRE YOU WILL BECOME A "POOR MANS VERSION OF THOSE YOU LIKE".

I KNOW THAT IT IS NO ONES WISH TO BE A POOR MANS VERSION OF "AL PACINO" O "MERYL STREEP".

BE YOU AND KNOW YOU ARE GOOD ENOUGH.

AND BY ALL MEANS HAVE A CRAFT. INVESTIGATE WHAT IS OUT THERE AND FIND THE SYSTEM THAT BEST WORKS FOR YOU. THERE IS ALOT OF TEACHERS OUT THERE AND MANY TECHNIQUES......FIND WHAT YOU LIKE AND START TRAINING...

FOOD FOR THOUGHT....

REFLEXIONES PARA LA CREACION.....

2011-06-22 00:00:00

REFLEXIONES PARA LA CREACION.....

A LA HORA DE ARMAR UN PERSONAJE, ES TAN IMPORTANTE LO QUE ESTA ESCRITO POR EL AUTOR COMO LO QUE NO ESTA ESCRITO.

COMO ES ESTO? PERCIBO PREGUNTAS............JAJAJA

EL TEMA ES ASI...

NOSOTROS COMO ARTISTAS TENEMOS QUE CREAR Y CREER LA REALIDAD DE ESTE PERSONAJE A DESARROLLAR.

SI LA HISTORIA GUIONADA EMPIEZA EN UN PUNTO DETERMINADO DE LA VIDA DE ESTE PERSONAJE, PORQUE NO PREGUNTARSE QUE PASO ANTES? ESTE PERSONAJE VINO DE ALGUN LUGAR Y VIVIO UNA VIDA ANTES DEL PUNTO EN EL CUAL SE INTRODUCE A NOSOTROS EN EL GUION.

SI NO HAY REFERENCIA AL PASADO, PORQUE NO TOMARTE EL TIEMPO DE CREARTELO?

SOLO CREANDO UNA REALIDAD...ENTRAS EN LA REALIDAD.

TODO EL TRABAJO QUE NOS TOMAMOS COMO ACTORES DE BUSCAR LA VERDAD ES LO QUE HACE QUE NUESTROS TRABAJOS COBREN VIDA Y SEAN MEMORABLES.

MAS TIEMPO LE PONES EN EL LA CONEXION Y LA REALIDAD, MAS DE AMBOS VERA EL PUBLICO.

NO SE OLVIDEN DE ALGO QUE SIEMPRE DIGO EN CLASE. EL ACTOR ES LA CARA VISIBLE DE UN GRUPO ENORME DE PERSONAS QUE SE NECESITAN PARA ARMAR UN PROYECTO.

COMO LA CARA VISIBLE UNO SE LLEVE GENERALMENTE MAS LAURELES QUE OTROS QUE HICIERON MUCHISMO PARA EL MISMO PROYECTO.

LA CONTRACARA ES QUE TAMBIEN TE LLEVARAS LAS MAYORES CRITICAS YA QUE EL PROYECTO ESTA IDENTIFICADO CON TU CARA.

EJEMPLO: CUANTAS VECES DEL CINE SALIERON ESCUCHANDO COMENTARIOS COMO ESTE:

" QUE BUENA LA PELICULA DE AL PACINO!"

" COMO SE LLAMA EL DIRECTOR DE LA PELICULA DE MERYL STREEP?"

" QUE MALA LA PELICULA DE TOM CRUISE"

PARA BIEN O PARA MAL EL ACTOR ES LA CARA VISIBLE DEL PROYECTO. SON MUY POCOS LOS QUE SALEN DE UNA PELICULA HABLANDO CON PRECISION

EJEMPLO:

" QUE MALO EL TRABAJO DEL DIRECTOR X EN LA PELICULA."

" EL GUIONISTA ROBY SMITH NO HIZO UN MUY BEN TRABAJO DE LLEVAR LA HISTORIA A LA PANTALLA"

A MENOS QUE EL DIRECTOR SEA MUY CONOCIDO ( ZEMEKIS, SPIELBERG, SCORCESSE) EL PUBLICO GENERAL, NO CONCE LOS NOMBRES DE TODAS LAS PERSONAS QUE CREAN UN PROYECTO Y POR ESO A LA HORA DE HACER SU DEVOLUCION....EL NOMBRE DEL ACTOR SERA EL REFERENTE!

CON ESTO QUIERO DECIR, NO SE TOMEN EL TRABAJO EN FORMA LIGHT. LA EXPLORACION ES PARTE DEL HERMOSO TRABAJO DEL ACTOR. NO TENDRIA QUE SER UN SACRIFICIO.

CUANDO YO A LOS 6-7 ANOS DECIDI QUE QUERIA SER ACTRIZ ERA JUSTAMENTE PORQUE ME FACINABA LA POSIBILIDAD DE CONVERTIRME POR COMPLETO EN OTRA PERSONA, CON OTRA VIDA, OTRO NOMBRE Y OTRA REALIDAD.......

TODO ESO .....PARA DESPUES VOLVER HACER YO!

DECIDAN QUE TIPO DE ACTORES QUIEREN SER. QUIEREN SUS 5 MINUTOS DE FAMA O QUIEREN LA AVENTURA DE CONVERTIRSE EN MILES DE PERSONAJES SOLO PARA VOLVER A SER USTEDES AL FINAL DEL DIA?

REFLEXIONES.......................

Living truthfully under imaginary circumstances

2022-07-25 00:00:00

Living truthfully under imaginary circumstances:

Let´s talk about the Method

In the dramatic arts, method acting is a group of techniques actors use to create in themselves the thoughts and feelings of their characters, so as to develop lifelike performances. Though not all Method actors use the same approach, the "Method" refers to the methods used by actors, which are based on the teachings and concepts of Constantin Stanislavski. Stanislavski's ideas were adapted by teachers such as Stella Adler, Robert Lewis, Sanford Meisner, Lee Strasberg, Eric Morris and Joy Morris for American actors. Strasberg's teaching emphasized the practice of connecting to a character by drawing on personal emotions and memories, aided by a set of exercises and practices including sense memory and affective memory. Stanislavski's system of acting was the foundation of Strasberg's technique. Rigorous adherents of Strasberg's technique are now commonly referred to as "Method Actors".

It was derived from the "system" created by Constantin Stanislavski, who pioneered similar ideas in his quest for "theatrical truth". This was done through his friendships with Russia's leading actors, his collaborations with playwright Anton Chekhov, and his own teaching, writing, and acting at the Moscow Art Theatre (founded in 1897).

Students of this technique include many of the best known American actors of the latter half of the 20th century, including Paul Newman, Al Pacino, George Peppard, Dustin Hoffman, Marilyn Monroe, Jane Fonda, Jack Nicholson, Mickey Rourke, and many others.[2] Using the Method, the actor also recalls emotions or reactions from their own life and uses them to identify with their character.

"The Method" refers to the teachings of Lee Strasberg, Stella Adler, Robert Lewis, and Sanford Meisner, and to other schools of acting influenced by Stanislavski's system, each of which takes a slightly different approach.

Generally, Method acting combines the actor's careful consideration of the character's psychological motives and personal identification with the character, possibly including a reproduction of the character's emotional state by recalling emotions or sensations from the actor's own life. It is often contrasted with acting in which thoughts and emotions are indicated, or presented in a clichéd, unrealistic way. Among the concepts and techniques of Method acting are substitution, "as if", sense memory, affective memory, animal work, and archetype work. Strasberg uses the question, "What would motivate me, the actor, to behave in the way the character does?" Strasberg asks the actor to replace the play's circumstances with his or her own, the substitution.

JOY MORRIS A BIOGRAPHY

2015-03-13 00:00:00

Coach / Educator / Filmmaker / Writer / Dreamer

Joy Morris

Joy has been coaching the 'Morris Technique' for more than thirty years. She is recognized all across the USA, and in Latin American. Through this method, she has helped actors become better at their craft. In addition to teaching actors, she has coached executives in all walks of life, helping them to communicate better, be more expressive and to be more productive. Here is her story:

The Dreamer

In the early 70’s Joy decided to pursue her dream to live her life as she imagined it to be and to have a career in Hollywood. She drove across country to Los Angeles, leaving her Southern home behind and began her adventures in the world of theater and art.

Educator and Coach

While married to the renowned acting coach, Eric Morris, she trained for five years before beginning her teaching career. She taught exclusively at 'The Morris Acting Studio' for fifteen years. During this period, she co-founded The American New Theater.

Joy also taught a directors class at the University of Southern California. Her class included techniques on how to work with actors, how to get what the director needs and at the same time, be sensitive to exposure of the actor.

She moved to New York in the early nineties where she continued a busy life of teaching. she opened her own studio on Eighth Avenue where she continued to teach acting classes. In 1994, a young actor called Leonardo Sparaglia from Buenos Aires asked her to do a seminar in his country. The experience proved to be one of the best in her life and as a result she returned every year to teach hundreds of students in Argentina until she left Jackie Kruguer in charge in 2010.

Today, she conducts seminars in Los Angeles, New York, Miami, San Francisco, Washington, Chicago and most of major cities across the states.

Filmmaker and Writer

• Joy co-wrote, co-directed and was executive producer for the feature film, “The Night of the Coyote”.

• While she was living in New York, she produced and directed over one hundred showcases for agents and casting directors. She also directed more than twenty plays, including her own, called “Who’s Got The Edge”, a story about friends and competition, that played at The Madison Avenue Theater starring Rodney Rowland and Mark Mathieson.

• Joy has written two books on acting. “For The Love Of It” is used in many schools across the country, the Spanish version is used in Latin America.

• Her book “My Little Black Book Of Acting” is an easy guide for actors.

The Morris Technique

Joy’s technique takes its origins from the philosophy of the Russian acting teacher and director, Constantin Stanislavski. Lee Strasburg brought the ideas to the US, forming “The Group Theater” in New York City. Her work is greatly influenced by the teachings of Dr. Carl Jung’s theories. She emphasizes the different archetypes in our personality and the truth of self-expression.

Palabras para la reflexión de ERIC MORRIS

2017-11-09 00:00:00

Palabras para la reflexion de ERIC MORRIS

SOBRE EL ENTRENAMIENTO....

"Me asombra terriblemente como hay actores que creen que el entrenamiento no es necesario. Muchos de estos "actores" creen que el entrenamiento puede interferir con el talento natural y la intuición. No estoy seguro si esto es ignorancia, superstición o simplemente una excusa para ser vagos. Cualquier tipo de trabajo lleva algún tipo de entrenamiento. La actuación que trata con lo físico, lo psicológico y las complejidades emocionales del comportamiento humano lleva un entrenamiento que dura toda la vida. Hay un estigma que acompaña la noción de estar estudiando. Pareciera ser que si estas estudiando es porque aun no estas preparado. ESTE ES UN GRAN ERROR. Nuestro propio crecimiento es un proceso continuo. La dedicación, investigación y exploración continuaran hasta el día que te mueras".

Eric Morris

SOBRE EL INSTRUMENTO.....

“Primero hay que entender lo que nos pasa para poder liberar el instrumento. Cuando una persona decide ser actor tiene que estar conciente de sus inhibiciones. Porque cada personaje que encare tiene una obligación emocional que necesita ser expresada y que él puede no tener disponible por sus propios bloqueos. “

“Qué se puede hacer para cambiar? Primero asumir la existencia de los obstáculos. Para poder hacer la terapia instrumental. Yo creo que confrontar los demonios en forma insistente es la mejor manera de hacerlos desaparecer. Que vos quieras lidiar o no con los obstáculos es una decisión personal, pero si queres ser un artista tenes que deshacerte de ellos”.

“El actor se prepara y se prepara y se prepara. Si tenes una técnica, este sirve para sacarte de un apuro, asi que anda a la técnica cuando tengas un problema”.

“Trabaja buscando realidad no aprobación. Vos sabes cuando algo se siente bien y lo estás haciendo bien o cuando algo no está bien y no se siente bien”.

Eric Morris

The Morris Acting Technique