References
References
Emilia Schüle
Elyas M'Barek
Jonathan Berlin
Julia Koschitz
Jessica Schwarz
Laurenz Rupp
Jannis Niewöhner
Foto: Mathias Bothor
Pia Barucki
Foto: Jeanne Degraa
Palina Rojinski
Gustav Schmidt
Foto: Eve Harper
Emilio Sakraya
Foto: Nils Schwarz
Sina Martens
Foto: Jeanne Degraa
Verena Altenberger
Foto: Stefan Klüter
Max von Thun
Foto: Alan Ovaska
Svea Bein
Foto: Elena Zaucke
Katrin Jaehne
Foto: Andre Röhner
Noah Tinwa
Foto: Marcus Höhn
Julia E. Lenska
Foto: Jakob Fiedner
Katrin Lux
Foto: Guido Lux
Hanna Werth
Foto: Sandra Then
Petra Einhoff
Foto: Volker Becker-Battaglia
Marie Bloching
Foto: Manuela Pickart
Karin Eva
Foto: Jeanine Guldener
Alice Schneider
Foto: Judith Stehlik
Nicola Trub
Manuel Kandler
Foto: C.Hartmann
Max von der Groeben
Foto: Christian Hartmann
Angela Ascher
Foto: Manfred Baumann
Raul Richter
Foto: Christoph Mannhardt
Marie Zielcke
Foto: Bernd Brundert
Johannes Hendrik Langer
Foto: Gerald Matzka
Antoine Monot Jr.
Maximilian Diehle
Foto: Sven Serkis
Alexander Weise
Tom Gramenz
Marian Kindermann
Foto: Christian Hartmann
Stefko Hanushevky
Foto: K. Kuhl
Rouven Magnus
Puriah Safary
Rajko Geith
Kimi Palme
Catrin Striebeck
Foto: Mathias Bothor
Steffen Wink
Foto: Luis Zeno Kuhn
Farina Flebbe
Foto: Sasha Ilushina
Wolf Danny Homann
Foto: Hilarius Riese
Mira Mazumdar
Foto: Frank Schroth
Patricia Medeen
Foto: Nils Schwarz
Alicia Endemann
Soufjan Ibrahim
Deniz Orta
Foto: Lea Sakkal
Anna Baranowska
Foto: Peter Müller
Caroline Frank
Foto: Teresa Marenzi
Katja Rosin
Foto: Elena Zaucke
Amedeo Gonnella
Foto: Annetta Chiatone
Oleg Tikhomirov
Foto: Stefan Klüter
Katharina Abt
Foto: Elena Zaucke
Andreas Döhler
Foto: Jeanne Degraa
Agnes Decker
Ferdinand Seebacher
Adrian Moskovicz
Alev Irmak
Tomer Lev Tov
Foto: Sven Serkis
Nils Rovira-Muñoz
Foto: Hannah Gehmacher
Stefan Gorski
Foto: Severin Koller
Adrian Topol
Foto: Hagen Schnauss
Oleg Zagorodnii
Nina Ensmann
Patricia Aulitzky
Foto: Joachim Gern
Benito Bause
Foto: René Fietzek
Andrea Gerhard
Foto: Thomas Leidig
Sophie Wepper
Foto: Matthias Beier
Alexandra Senelnikowa
Foto: Sinje Hasheider
Angelina Kamp
Foto: Sasha Ilushina
Anabella Zetsch
Foto: Mathias Bothor
Amélina Limousin
Marija Kocvo
Foto: Nils Schwarz
Anna Platen
Foto: Valerie Mittelmann
Bernadette Leopold
Philip Birnstiel
Riccardo Angelini
Foto: Andrea Ciccalé
Harry G
Foto: Christian Brecheis
Pia Tutzenstein
Foto: Frank Wartenberg
Martin Bretschneider
Foto: Merav Maroody
Anna Soibert
Foto: Janine Guldener
David Nolden
Foto: Sasha Ilushina
Moritz Vierboom
Foto: Joachim Gern
Michael Fritz Schuhmacher
Foto: Nils Schwarz
Simon Rusch
Foto: Lary Rauh
Tim-Fabian Hoffmann
Foto: Markus J. Bachmann
Sebastian Schneider
Foto: Elena Zaucke
Rüdiger Bach
Jörn Grosse
Foto: Urban Ruths
Laurean Wagner
Foto: Sven Serkis
Coaching
For casting or role work, I always work according to the acting ABCs of Ivana Chubbuck, Susan Batson, Stella Adler and Uta Hagen. I am a member of Ivana Chubbuck’s and Susan Batson’s Master Class and swear by role and text analysis. I am the first and only acting coach to work openly with spirituality and find out your archetypes of the soul and your basic character elements in advance so that you can become aware of them and actively use them in casting and in your play.
On request, every first appointment includes a profiling: Based on your demo material, I filter out your essence as an actor, analyze your strengths and weaknesses and determine your market value. With over 20 years of experience as an actor and over 14 years of experience as a coach, I will advise you on how to optimize your public persona so that you can get more work. After a certain amount of training, I will teach you my Avatar Technique©. I know of no faster and more effective acting technique in the world.
Thankfully, it is now the rule rather than the exception for actors to prepare for a role for a shoot or audition with their coach. From my own experience as an actor and coach, as well as from the work of my colleagues with great actors and international stars such as Nicole Kidman, Brad Pitt, Juliette Binoche, Travis Fimmel, Lady Gaga, Jack Nicholson, Halle Barry, Beyoncé, Charlize Theron or Jake Gyllenhaal, I KNOW that the core of their acting success is 1:1 work with their coach. With a coach, you find out what role you are playing, what it has to do with you and how you play it. Everything else is a vague search. But your job is to deliver the role, not to look for the role. And that’s exactly what we do in our joint preparation.
Profiling: Of course you have to make sure that the industry sees your work! If requests and castings don’t materialize, it’s usually because of your profile and your public persona: either they’re missing or you’re not seen in your material! The basis is: you need the right pictures and the right demo material that show you and only you in your uniqueness. This is how I profile your public persona: We clarify your essence, your subject, your artistic statement and your unique selling point. I advise you on suitable images and demo scenes and reposition you.
E-castings: We work out the scenes and, if you wish, I can also record the e-casting in my studio. Otherwise, I will advise you on the recording of the e-casting, view the test recordings and give you a „Go!“ or a „Re-shoot!“.
Castings: We work on the scenes and make a proposal in the casting that you cannot reject artistically. You become an expert in your role and remain flexible. You are no longer nervous, but above all have fun.
Shooting preparation: While a casting is a sketch, a role is an oil painting:
In other words, I will do everything in my power to ensure that you ARE the role. You will be able to clearly distinguish between yourself and the role and it will be easy for you to play the role. We will achieve this by – I could now give you the whole acting ABC: actions, animal work, beats, circumstances, doings, emotional memory, goal, imagination, inner monologue, icon work, obstacles, objectives, personalizations, sexual chemistry, sensory etc.. But it’s not about any techniques, we use what works for YOU and only what works for YOU!
In short, the role work is technically about understanding the book, role analysis, scene analysis, the relationship to other roles, your body work and first rehearsals. In addition, we clarify the relationship and language with the director and colleagues and assess all eventualities during the shoot. So far, all directors have been happy with my input – and so have my clients.
Shooting support: I am available for you 24/7 at any time during the shoot. I can also coordinate with the director on request.
Reflection: We will review your footage and analyze your performance – free of charge! What went really well and where can you be braver from now on? Learn from yourself.
Independence: As a coach, I’m there when you need me and I disappear when you’re ready for the role. I want you to be independent as an actor – not only from directors, casters, colleagues or agents, but also from me. When my clients work with me on a long-term basis, it’s for pure fun and because it’s simply quicker. Or because we want to explore new dimensions. When we work together for a longer period of time, the work becomes deeper and deeper and yet simpler.
Your Archetype
„In film and theater, archetypes can be used to characterize the individual roles and their respective functions. Archetypes can create a consensus between actors and audience, as the audience can be assumed to be familiar with the templates used.“ (Wikipedia) My trick as a coach is that we use YOUR archetypes for the role! This makes your role much more exciting and authentic. The wonderful thing is that you will always get the roles that suit you and your archetype.
WHAT ARCHETYPES ARE THERE?
The Swiss psychiatrist and founder of psychological analysis Carl Gustav Jung came up with 12 archetypes at the beginning of the last century. However, I stick to the 7 archetypes of the trance medium Dr. Varda Hasselmann. Why? Because the number 7 is the symbolic number of infinity and because Dr. Varda Hasselmann’s book „Archetypes of the Soul“ is not only an international bestseller, but a work of the century. Goethe would have loved it.
The 7 archetypes are 7 different energies that have simply been given names so that they can be better categorized. They are not job titles! All archetypes are equal, none is better or worse, none is higher or lower:
- Healer – Principle: Servant – Examples: Queen Elizabeth II, Angela Merkel, Antoine Monot Jr.
- Artist – Principle: Create – Examples: Michael Jackson, Max von Thun, Moritz Bleibtreu
- Warrior – Principle: Fighting – Examples: Mahatma Gandhi, Elyas M’Barek, Jessica Schwarz
- Scholar – Principle: Learning/Teaching – Examples: J.W. Goethe, Günther Jauch, Julia Koschitz
- Wise principle: sharing – examples: Paris Hilton, Thomas Gottschalk, Jeff Wilbusch
- Priest – Principle: Comforting – Examples: Steve Jobs, Nelson Mandela, Nicole Kidman, Albrecht Schuch, Verena Altenberger
- King – Principle: Leading – Examples: Anne Frank, Barack Obama, Sina Martens, Florian David Fitz
WHAT IS THE SOUL MATRIX?
The soul matrix is your very personal pattern of basic character elements that every soul has chosen – except for the soul age, which is self-evident. These elements are: The primal fear, the development goal, the mode, the mentality and the reaction pattern. We can select these basic elements of your character and use them for your role with the acting tools next to them:
Primal fear = Need
Development Goal = Superobjective
Mode = Overall Action
Mentality = The Who-am-I?
Reaction Pattern = Reaction Mode
Soul Age = Circles of Attention
HOW EXACTLY DO I USE MY ARCHETYPE AND THE MATRIX FOR MY ROLE?
It depends on the role. With your archetype and your soul matrix, you can show 11 different facets of your personality (I’ll explain why there are 11 another time). We decide together which facets we will use. Ryan Gosling once said that he is always himself in his roles – only that he always emphasizes certain facets of himself and holds back others. This is exactly what we do when working with your archetypes and your soul matrix. This does not replace role and scene analysis, but it does make it quicker and easier. It makes your play more conscious and decisive. They only make it quicker and easier and your play becomes deeper and more convincing because you can draw on the fullness of your personality.
WHAT DOES THAT BENEFIT ME?
From my experience: professional success, awareness and fun.
Since I’ve been a coach, I find out the soul matrix and the archetypes for each client – regardless of whether the client wants to know them or not. When the client has consciously engaged with the archetype and consciously uses the matrix in the game, new shooting days and new roles come. The career gets a boost. Because he/she is no longer playing AGAINST his/her assets, but WITH them.
Whenever the client remained faithful to this work, things always went uphill – from unemployment to filming, from supporting roles to leading roles, from series to film, from film to feature film, from feature film to Netflix/Amazon. Because all of a sudden you’re in a state of flux and you’re true to yourself. I have been working with my personal archetype for 13 years and am constantly discovering new things. I have become successful as a coach because I have accepted my responsibility as a priest.
The great side effect of archetypes is that a lot of things change for the better in your private life too – toxic relationships break up, there is suddenly more peace in the family and your health plays along if you stay true to yourself. However, many actors don’t want to change at all and prefer to remain unsuccessful – after all, they’ve gotten used to it. If you really want to change something, then things will change.
HOW DO YOU FIND OUT YOUR ARCHETYPE?
I am asked this very often. It’s a spiritual technique that you teach yourself in the course of spiritual work or learn from a mentor. Everyone has their own technique. My technique is neither cognitive nor analytical, but goes through the subconscious. I will not reveal it. Find your own technique. Or find someone who knows a technique. I’m not an esoteric, I’m not a guru and I don’t belong to any sect. I only pass on the knowledge that has helped me.
Workshop
I organize a monthly workshop on the first Saturday of the month from 2 – 8 pm so that you can train, get structure in your acting, work more independently and differentiated, exchange ideas with colleagues and get to know me and my work personally. This is an affordable deal, because a 6-hour workshop only costs as much as a one-to-one session with me. For active participants I reveal their archetypes and their complete soul matrix, which costs 349€ online at GET YOUR ARCHETYPE NOW! Listeners only pay 100€.
Next workshops:
The workshop takes 6 hours and consists of 6 parts:
- MEDITATION + YOGA + ARCHETYPES: We start with a short meditation and yoga exercise. I then announce the archetypes and the soul matrix of the participants and give a few key points for explanation.
- CIRCLE DANCE: Circle dance is based on Susan Batson’s technique. I have developed it further, individualized it and made it more effective and efficient for each participant. You work subconsciously on the intimacy of your public persona.
- TEXT ANALYSIS: Everyone gets the same monologue (every monologue is a dialog). We analyze this scene together with all the necessary parameters based on Ivana Chubbuck. However, we add other relevant parameters. You could already play this scene with just one of these parameters.
- EMOTIONAL PREPARATION: Some parameters require psychological-emotional or physical preparation. I will guide you through.
- ON CAMERA: After enough time to study the text, all participants take it in turns to perform the scene. The recording is done standing up, like an e-casting and without props.
- FEEDBACK: After each audition, feedback is given by all participants in turn and by me at the end. The feedback has clear guidelines of mindfulness and reference to the work alone.
The Avatar Technique
I don’t know of any technique that allows you to connect with a role more quickly, more deeply and more extensively. You slip into the role and get out of it without experiencing personal suffering or re-traumatization. You ARE the role. Your friends would not recognize you.
BILD: MICAH MARCHAND
What does AVATAR mean?
The term „avatar“ became known in the western world through the film of the same name by James Cameron, which describes the principle of the avatar very aptly. The word actually comes from the Sanskrit of Hinduism and means the manifestation of the divine in the form of a human or animal. Today we know the avatar as an artificial figure in the virtual world.
How do I create the avatar?
Through your imagination and its visualization. With a practical exercise, you physically and literally step into the avatar. You ARE IN the role. Through role analysis you see the avatar. You will see it so clearly that you will be able to answer all my and your questions about it. You just have to be clear about how you lead the avatar and let it lead you. After the filming, you will physically step out of the Avatar again and remain YOU as a private person.
You are a human being and therefore a trinity: body, mind and soul. The Avatar, however, is like an animal: he is only aware of his body and his mind, but not of his soul. You are aware of your soul and therefore guide the avatar – just like an animal. You can let it act and react completely independently and sometimes you have to put it on a leash. Let yourself be surprised – if you have a pet, the avatar technique will be easy for you. The nice thing is that you can always hand in and store the Avatar after work.
Am I still responsive in the AVATAR?
Yes, because you wear it as an alternate skin. On set, you are you and as soon as the camera starts rolling, you activate the bodypoints and become the avatar – flipflop. You are completely in your senses, but in a different body with a different mind while playing.
Does the avatar replace scene analysis?
Yes and no. The avatar speeds up scene analysis a lot. We just have to be aware of the scene and the circumstances and what the avatar wants in that scene. Then you can let it run and let it act and react. You can rehearse the scene for yourself, just as you would with an animal. The Avatar always knows what it has to do. It is very much in the moment.