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4 Day Master Class with Film shoot

  • Saturday, 17th Feb. – Tue., 20th Feb. 2018

  • Daily 10:00 – 17:00

  • incl. Video-Shoot on the last day with a professional camera operator using a „Red Epic“ – top of the line – camera.

  • Class will be based on Sam Shepard Plays: „Curse of the Starving Class“ and „Burried Child

Begrenzte Plätze!

Standard

530(all 4 days)
  • incl. Material from VideoShoot

Returners / Students*

500(all 4 days)
  • incl. Material from VideoShoot

Kirk Baltz has been a working actor in film, theater and television for 25 years and has worked with such noted film directors as Chantal Akerman, Warren Beatty, Oliver Stone, John Woo, Kevin Costner, Quentin Tarantino, Taylor Hackford and Deniz Gamez Erguven to name a few. Kirk trained extensively as an actor in New York City and Los Angeles. Kirk studied Meisner technique with Greg Zittle of The Neighborhood Play House, and Strasberg based work with Sandra Seacat, Tony Greco and Susan Batson, all renowned acting teachers and noted members of the Actor’s Studio. In 1995, Kirk began teaching acting classes in Los Angeles, CA and acting workshops in other major cities across the U.S. and abroad. He continues to do so, while offering acting classes and private coaching in Los Angeles as well as on line sessions via Skype. Kirk also does on set coaching for TV and film.

Kirk Baltz
kirkbaltz.com | IMDb Credits

 

Kirk Baltz arbeitet seit über 25 Jahren als Schauspieler für Theater, Film und Fernsehen in Amerika. Er hat u.a. mit bekannten Filmregiseuren wie Chantal Akerman, Warren Beatty, Oliver Stone, John Woo, Kevin Costner, Quentin Tarantino, Taylor Hackford and Deniz Gamez Erguven gearbeitet. Kirk erhielt fundiertes Schauspieltraining in New York City und Los Angeles von namenhaften Schauspiellehrern, alles Mitgleider des „Actor’s Studio“: Meisner Technnik mit Greg Zittle of The Neighborhood Play House, Strasberg basiertes Arbeiten mit Sandra Seacat, Tony Greco und Susan Batson. Seit 1995 unterrichtet Kirk Schauspiel in Los Angeles und Workshops in de USA und Europa. Darüber hinaus bietet er One-to-One Coaching, Coaching am TV- und Film-Set, und betreut seine internationalen Schauspieler über Online-Skype-Sesions.

Kirk Baltz
kirkbaltz.com | IMDb Credits

Course Description

“ Our first 3 days will be spent working with Meisner and Method based exercises while pairing up scene partners and choosing scenes from Sam Shepard’s plays „Curse Of The Starving Class“ and „Buried Child.“ The work will develop and evolve so that by the time our camera operator shows up during lunch on our 4th and final day, the process will then continue but with the eye of a lens upon those working.

All scenes will be done in a simple 2 shot…some static (camera on a tripod) others with a bit of camera movement, without coverage to keep things free of editing. This will create a continuous flow with time for adjustments between each take.

It’s a truly wonderful experience to reaffirm that the work of an actor telling his or her character’s story must come first. When this is given permission to happen pure magic can be recorded. This would happen with or without a camera being there. In our case it will be there. We must learn to surrender to this set given, accepting the camera’s existence rather than making it about performing for the camera.

My belief is that one must first learn to act (while being trained) and then put it up on a stage or in an audition situation. If the work is done with commitment and truth a camera will be present if and when it’s meant to. Too many actors rush this process. Theater has a way of being way more forgiving than film.

Robert Duval was quoted as saying that it took him 3 films to begin to learn how to work on a film set. Those first 3 films are pretty amazing pieces of work. This can be attributed to his devoted training as an actor and then the beginning of allowing others around him to do what they do. This is the essence of collaboration for film…and theater.

We will not do play back and sit and watch our work. I know in my heart of hearts when I’ve done courageous and focused work. The viewing, assessment and editing of what I have done is left to others…as it should be. It’s exactly this kind of letting go that keeps me involved and loving what I do as an actor.

All participants will be sent a video file of their scene’s best take to do with what they choose within 10-14 days after the workshop.

Very much looking forward to building great work with Sam Shepard’s classic American text…and the recording of this works in a creatively grounded and supportive environment.

Additional Reading: „The Art of Listening“ by Kirk Baltz (Oct. 2017)

JETZT BUCHEN: SICHERE DIR DEINEN PLATZ

FAQs

  • Was erwartet mich beim Workhop & was kann ich vorbereiten?

Both plays are to be read and studied, printed on paper (no electronic devices) and brought to class. You will receive the scripts once your booking has been confirmed by your payment.

All are encouraged to choose a piece that grabs you and are invited to change the gender of a piece is desired. Maybe you are a woman and a monologue of say Wesley or Weston’s from “Curse of The Starving Class” intrigues you. Feel free to jump in and run with it. This is a great opportunity to work with text that you would more than likely not be able to in an audition or performance setting. These workshops are rooted in taking risks in a safe and supportive environment.

Participants will match up with partners and pick scenes from one of the 2 plays. If you know someone who will be attending a workshop and you’d like to start a scene ahead of time to bring in, this is encouraged…as long as your scene is from either one of Shepard’s plays.

  • In welcher Sprache wird gearbeitet bzw. muss ich Englisch wirklich perfekt können?
I do encourage folks to work in their mother tongue. There’s more of an internal connection that takes place and then the works can be taken to English if desired. I’m more interested in artists grabbing the essence of the work rather than being concerned with the linguistics. I don’t need to understand what’s being said. I’m looking for truth and conviction.
  • Wird zusätzliche Arbeit zu Hause erwartet?
There might be minimal work on lunch breaks and to do at home in the evening. Simple review of scenes and perhaps a bit of writing…nothing arduous. Evenings are for resting and dreaming 🙂