Film

3 Tips for Overcoming Bitterness

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Letting go of trying to be in control and focusing on enjoying the process is the key to allowing us to feel successful, happy, and helping us overcome the bitter actor syndrome. This is true in an audition, with a project, with our careers, and even with our lives. Not being focussed on a specific result and instead focusing on taking action allows us to be relaxed and happier as actors. The more relaxed and happier you are as an actor, the more creative you will be in your work, leading to more success in your career. 

It’s really hard work trying to impress other people, especially when we usually have no idea what it is they want in the first place. The irony is, they, who we are auditioning for, usually don’t know what they want until they see it. Second-guessing what a casting director, director, or producer wants is ultimately pointless. Trying to impress others will lead to resentment and bitterness. 

Natalie Roy, co-founder of C.R.E.A.T.E., a workshop series designed to break artists free of limiting beliefs, said, “You are entitled to your actions but not entitled to the fruits of those actions. Can you place the value in the action? Can you say, I took this action because I’m the kind of person who enjoys taking action. We become bitter because we want control and we expect a specific result.” The bitterness comes when the desired result does not follow the action.

When we let go and only focus on the action that we are taking for our careers, not only do we overcome being bitter, but we become fulfilled as artists. Being fulfilled leads to us feeling more confident. You enter your audition far more open, creative, and present when you are fulfilled.

The actor that we most want to hang around with and who casting directors enjoy calling in is that actor who is relaxed and isn’t trying to impress because he/she is confident that he or she is enough. He/she is in the room to inspire us with his/her art. We love being around people who are confident, relaxed, and who inspire us. People ultimately want to be inspired; it touches who we are as artist and gives us power. 

So, how do we become that person? By letting go. Letting go of that control stops us from taking things so personally and stops that voice in our head that tells us that we are being rejected. Rejection is something that we actors make up. It’s not actually really true. As Roy puts it, “When you don’t get an audition, you’re not actually being rejected. The industry is not saying something is wrong with you. What they are saying is that you are not right for this project.” By understanding all of this, we come across more confident. 

What all of this means is that we have to have a leap of faith of letting go and trusting that what we do is enough—a leap of faith that your preparation for the audition and role is enough, that you are in the right place for your career.

A few strong suggestions to help you to let go, be happy, and overcome being bitter. 

1. Meditate. Each morning for three-to-five minutes before you start your day (and definitely before you check your phone), sit quietly and tell yourself two or three great things for which you are currently grateful. One minute of mediation can be extremely powerful in starting your day in positive way. 

2. Visualize. Spend a minute telling yourself what an amazing audition or day you are going to have. Visualize that your day will go exactly that way you want to go and give thanks that it did. You are sending out positive waves into the world that will reverberate positive waves back. 

3. Be around positive people. Surround yourself with people who are goal-oriented, mature, optimistic, kind, and who celebrate and validate you. This includes your agent, your manager, and your acting teacher. You are an average of the people you with whom you surround yourself.

Milk Can Theatre- Nominated for a Innovative Theatre Award

Nominated for a Innovative Theatre Award
Written by Lorraine Cink • Directed by Riv MasseyFeaturing: Jenny Bennett, Jed Peterson*, Douglas Taurel*
 
Emilia continually insists there's something wrong with her, even though the doctor can't find anything. But since it's her birthday, Emilia must be right, mustn't she? Happy Birthday, Emilia!
 
Performed at Urban Stages and was nominated for an Innovative Theatre Award for Best Ensemble.

BareNaked Reading at the Cherry Lane Theatre





bareNaked Reading Series (no sets, no props, just words) at The Cherry Lane Theatre with a new short play by Mike Reiss (The Simpsons) and a full-length play by Jason Furlani.

Waiting For Waiting For Godot by Mike Reiss(Simpsons)

directed by Pamela Seiderman
featuring:
Douglas Taurel, Lisa Anderson, Jeremy Brena, Lynn Cohen, Ronald Cohen, Mark G. Cisneros, Charles Everett, John Gazzale,Minna Taylor and Andrew McLarty reading stage directions.

Barefoot Theatre reading: Smashed, dir Francisco Solorzano


New plays by incredible playwrights.

The Sackett Presents Barefoot Theatre Company'sworkshop series - SMASHED! Join us for Joe Pintauro's controversial short play Dirty Talk.

Playwrights featured: Danelle Eliav, Kyle Bradstreet, Dan Graff, Tim Plaehn, Mark von Sternberg, Kristin Wheeler, and Joe Pintauro

Featuring: Jeremy Brena, Lisa Anderson, Charles Everett, Samantha Fontana, Thomas James Lombardo, Ian Kerch, Patrizia Hernandez, Gil Ron, Dan Graff, Francisco Solorzano, Therese Plaehn, Kristin Wheeler, Andrew MacLarty, Jennie West, Douglas Taurel.Directed by: Nicole Haran, Brian Roff, John Hurley, Luke Leonard, Vincent Ingrisano, Francisco Solorzano, Kristin Wheele.

Lola Lola by Peter Michalos, Dir. Ed Schiff

Creationism Vs. Evolution. Do we come from Apes? Is there a Fossil Link?

Creationism teaches that God created man materially, but Jesus said, "That which is born of the flesh is flesh and that which is born of the Spirit , GOD, is spirit (John 3:6). Paul said, "...the flesh lusteth against the Spirit, and the Spirit against the flesh: and these are contrary the one to the other ..." (Galations 5:17). Though Jesus and Paul clearly taught that Spirit and flesh are contrary, creationism holds to an opposite view and attributes the creation of matter to Spirit.

Evolution is based on the belief that matter, not Spirit, is real substance; that nothing can evolve into something; that non-intelligence can become intelligent. Evolution may describe the illusion of material existence, but it does not explain the real, spiritual creation.


Ain't Ethiopia" at Multi Stages New Works Finalist Festival. Dir. Elfin Frederick Voge, Art. Dir. Lorca Peress




The Spanish Civil War was a major conflict that devastated Spain from 17 July 1936 to 1 April 1939. It began after an attempted by a groups Spanish Army generals against the government of the Second Spanish Republic, then under the leadership of president Manuel Azaña.

The nationalist insurgency was supported by the conservative Spanish Confederation of the Autonomous Right, monarchists known as Carlist groups, and the Fascist Falange. The war ended with the victory of the rebel forces, the overthrow of the Republican government, and the founding of a dictatorship led by General Francisco Franco. In the aftermath of the civil war, all right-wing parties were fused into the state party of the Franco regime.

Tidings Brought To Mary, Dir. Peter Dobbins


Presented by the Storm Theatre and Blackfriars Repertory Theatre at the Paradise Factory, New York, March 2009.

Paul Claudel (6 August 1868 – 23 February 1955) was a French poet, dramatist and diplomat, and the younger brother of the sculptor Camille Claudel. He was most famous for his verse dramas, which often convey his devout Catholic faith.

Claudel was always a controversial figure during his lifetime, and remains so today. His devout Catholicism and his right-wing political views, both unfashionable stances among many of his intellectual peers, made him, and continue to make him, unpopular in many circles.

The most famous of his plays are Le Partage de Midi ("The Break of Noon", 1906), L'Annonce Faite a Marie ("The Tidings Brought to Mary", 1910) focusing on the themes of sacrifice, oblation and sanctification through the tale of a young medieval French peasant woman who contracts leprosy, and Le Soulier de Satin ("The Satin Slipper", 1931), his deepest exploration of human and divine love and longing set in the Spanish empire of the siglo de oro,

Aaron Bacon, Dir. by Nick Gaglia

Recently finished wrapping up the film Aaron Bacon directed and written by Nick Gaglia.
  • The poignant story based on his experience in a cult-like rehab. This film exposes corrupt rehabilitation centers which prey upon vulnerable teens and their parents and are still widespread throughout the world.
Aaron Bacon's journey to North Star began in Phoenix, where his parents had watched him spiral downward into regular drug use, with slipping grades, conflicts with gang members and bouts of depression. He smoked marijuana daily, and experimented with LSD, speed and hallucinogenic mushrooms. Aaron promised to quit drugs if he would be allowed to switch from private to public school, and his parents agreed. But when his grades and attitude continued to plummet, his parents showed him a brochure for a wilderness camp run by North Star. He tore it up in their faces.
Critics call them "hell camps;" satisfied parents call them the best thing that ever happened to their son or daughter. Companies take rebellious kids aged 12 to 18 into the backcountry for several weeks, teach them how to live off the land, and overcome their bad habits and bad attitudes. The assumption is, they then go home to Mom and Dad as responsible young adults.

Three Sisters at Columbia University



Finished performing Vershinin in Chekhov's Three Sisters at Columbia University.
  • Three Sisters was directed by Mikhael Garver
Three Sisters is a play by Russian author and playwright Anton Chekhov, said to be inspired by the three Brontë sisters. It was written in 1900 and first produced in 1901.
Three Sisters is a naturalistic play about the decay of the privileged class in Russia and the search for meaning in the modern world. It describes the lives and aspirations of the Prozorov family, the three sisters (Olga, Masha, and Irina) and their brother Andrei. They are a family dissatisfied and frustrated with their present existence. The sisters are refined and cultured young women who grew up in urban Moscow; however for the past eleven years they have been living in a small provincial town.
Chekhov's initial inspiration was the general life-story of the three Brontë sisters, i.e., their refinement in the midst of provincial isolation and their disappointment in the expectations they had of their brother Branwell.
Moscow is a major symbolic element: the sisters are always dreaming of it and constantly express their desire to return. They identify Moscow with their happiness, and thus to them it represents the perfect life. However as the play develops Moscow never materializes and they all see their dreams recede further and further. Meaning never presents itself and they are forced to seek it out for themselves. Considered a classic, this play is periodically revived to suit extraordinary stage actresses, but the breadth and scope of the roles require that the entire company be extraordinary. Although the play's rise and fall seem to follow the arc of Irina's story, the star role, for her passion and her humor, is usually Masha. However, as with all of Chekhov's plays, any one of the characters, in the right actor's hands, can blaze with uncommon humanity, and the simplest moment can become a sudden revelation.

The Hairy Ape at Columbia University

Finished performing Paddy in O'Neill's The Hairy Ape at Columbia University.
  • The Hairy Ape was directed by Adriana Baer
The Hairy Ape displays O'Neill's social concern for the oppressed industrial working class. Despite demonstrating in The Hairy Ape his clear belief that the capitalist system persecuted the working man, O'Neill is critical of a socialist movement that can't fulfill individual needs or solve unique problems. The industrial environment is presented as toxic and dehumanizing; the world of the rich, superficial and dehumanized. Yank has also been interpreted as representative of the human condition, alienated from nature by his isolated consciousness, unable to find belonging in any social group or environment.
The play tells the story of a brutish, unthinking laborer known as Yank, as he searches for a sense of belonging in a world controlled by the rich. At first Yank feels secure as he stokes the engines of an oceanliner, and is highly confident in his physical power over the ship's engines. However, when the weak but rich daughter of an industrialist in the steel business refers to him as a "filthy beast," Yank undergoes a crisis of identity. He leaves the ship and wanders into Manhattan, only to find he does not belong anywhere—neither with the socialites on Fifth Avenue, nor with the labor organizers on the waterfront. Finally he is reduced to seeking a kindred being with the gorilla in the zoo and dies in the animal's embrace.