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“Build a Character“
for Camera / Strong Audition Self Taping
with Kirk Baltz live from L.A.

Using the American-based Meisner & Method techniques, Kirk Baltz guides you through preparation exercises and feedback for self-tape auditions that stand out. As virtual auditions are more likely to be in our future, the self-tape becomes a major focus in our work.
For August, we will be using THE SOCIAL NETWORK screenplay for monologues, scenes, and technique studies. This screenplay is great for gender-switches where women can work with strong male text. Attached is the poster for the film and the screenplay we will be using throughout the four-weeks.

*World-Timezones: 10am L.A. | 1pm NY | 6pm UK | 7pm EUROPE | 8pm MOSCOW

**Returning Student prices only for students who have participated in at least one of Kirk’s Workshops. If you are not entiteled for discount we reserve the right to invoice the regular price.


This is how it works:


About Kirk Baltz (L.A.)

„From the start of his career, Kirk Baltz has studied extensively in NYC and LA with such noted teachers as Sandra Seacat, Greg Zittle, Susan Batson, Tony Greco, and Penny Allen; who are responsible for the training (and in some cases the continued coaching), of such actors as Ryan Gosling, Nicole Kidman, Shia Labeouf, Andrew Garfield, Laura Dern, Mickey Rourke, Jesicca Lange, Harvey Keitel and Phillip Seymour Hoffman. He has appeared in such television shows as: Snowfall, NCIS, 24, The Shield, Without A Trace, Will and Grace, and NCIS:Los Angeles and such noted features as Bulworth, Natural Born Killers, Reservoir Dogs (as “Officer Marvin Nash”), Dances With Wolves and Taylor Hackford’s Parker. Kirk recently appeared in Deniz Erguven’s “Kings”, Alan Watt’s film “Interior Night”, and the critically acclaimed short films “The Armoire” written and directed by Evan Cooper as well as “Demon” written and directed by Caleb Slain. He will be appearing in the upcoming feature “The Will O Wisp” by Evan Cooper.

Kirk Baltz | IMDb Credits



  • Do I need to speak English perfectly?
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.
  • Will there be extra work expected outside the class?
There might be minimal work to do at home inbetween sessions. Simple review of the scenes given to you and perhaps a bit of writing…nothing arduous.