For the past three years I've been developing a coaching method for actors that helps them gaining direct access to their talent, presence, and authenticity. I draw from my experiences as an actress, director and trainer for bodyawareness.  Actors are people who on the one hand have an impressive self-confidence which enables them to show themselves and open up their inner world in front of an audience. Nevertheless all actors I know are also plagued by self-doubts and fears. I show them that behind these alleged weaknesses are actually their greatest abilities, which promote the sensitivity and versatility of their play. The goal is that they can meet the requirements and conditions in their profession with more ease, courage and grace.  The work with the body allows an immediate physical experience of the text, the role and the moment.  How can the actor be pure and present, without observing or thinking too much?  And how is it possible to let go of control, go into the hands of a director, and still feel secure?  Since every actor has his own individual way of playing, I go into it very specifically and do my best to figure out what the person needs to trust himself more.  The actor gains a clear, simple and reliable access to his impulses, his imagination and personal ways of expression. They expand into their individual talent and learn to rely on it.      'The meetings with Ada are exciting and full of enjoyment. At points in the work to which I had previously thought or constructed intently, I now have more lightness and permeability, focusing myself to become more targeted, to feel my roles. Instead of wasted thinking à la: "I can not !!", my body shows to me completely surprising impressions from the life of the character. It is an adventurous fun to follow this playfulness and joy that makes me overcome fears and doubts. Through the meetings I will pay attention to the fact that my desire to play is ultimately much bigger and stronger than my fear of failure.'   (Cecilia, actress)      'Presence and power on stage occur through allowing softness and permeability. For me it was great to realise that the art lies in the "omission" because most of what I'm looking for is already all there. It is a pleasure to perceive blockages, to admit them, and then to break free from them. Through the meetings I'm focused, my voice gets more resonant and I'm learning to follow the 'interpretation of my body.'   (Hauke, actor)
prev / next