Tuesday, March 2nd, we’re On The Air with our new radio show. It’s presented at 8PM EST by World Talk Radio, and also syndicated by Voice of America Saturdays at 1PM EST.

The show’s concept, “Where acting meets higher consciousness and Transformation,” explores a weekly topic that is potent for acting, life and personal growth.

The format continues with a weekly guest in either the arts or personal growth and will include call-ins for Sande. “I will answer questions that help with Acting, Auditions, Getting the Job, being Brilliant once you’ve booked the job, having Star Power, Creating Magic Moments, Taking Action, Identity, Transformation, Commitment, Shifting perception, Playing out of the box, Transforming what is to what can be…new possibilities, new opportunities and including any other questions you may have.

There is a special section headed up by Bruce Levy called “Bo’s Buzz,” which is an open market for reviews, views and other current agendas.

I’ve helped people for 30 years to become brilliant artists, create great careers, transform and move forward and I will help do that for you.

I’m really looking forward to meeting you on our new show.

This was a blog I’d written for the interview I did for Jennifer Wilkov’s online radio show “Your Book Is Your Hook!”

Reminds me of being a kid and having your very own Hook. Your coat hung on a hook in school and you recognized where your hook was and what your coat looked like. Then at home your Hook differentiated you from the rest of your family.

Similarly, my books, Transformational Acting and Star Power! – Defining Your Individual Signature are the literary hooks that add to my distinctiveness.

It introduces my work to actors, other artists and some other very interested people in various cities across the country. They call or e-mail to meet me and sometimes fly in to meet at my acting studios in NY or Woodstock for a weekend intensive. Because the acting technique that I have developed called “Transformational Acting” and many of the workshops that I lead including “Star Power!” and “Break-Thru” have a transformational base, people of many professions do take them and get amazing value.

My books also have a terrific referral aspect for my business, as actors are curious about what others are reading. Within this conversation, many new actors and other people learn about my work and me.

This Hook continues with publicity that I get from being interviewed. These interviews inspire others to buy more books, enroll into my classes and workshop events, and when they learn that I’m a Director (film and theatre) – they send scripts.

I have used this hook on some of the reality shows where I have been hired to appear as an acting coach, including an appearance on “America’s Next Top Model.” One, my book gives me more credibility, and, two, I have actually advertised it on a few of the shows.

So it’s like an ongoing circle. The book increases my status. When I book the job and can advertise it, more people know of me. They buy more books, enroll into my acting studios, call for private coaching, participate in workshops and promote my directing career.

The great thing for me about this is that my books are a great part of my contribution and what I call a shift in acting technique and perception. I love working with the principles of transformation and people.

Many things as we know them to be have fallen apart. War continues, the economy has crumbled, our identities have been shaken.

But this is an opportunity to live on the Edge of Creation. Our normal tendency is to pull back and be informed by our history and patterns. But we have the ability, instead, to be propelled by Self Determination. The good element about living in uncertain times is that we can design this uncharted territory and redesign our lives.

9/11 came and shifted life as we knew it. We changed for a while. Our values were different. But it seems we mostly pulled it together, back in the direction that we once knew.

Hit again for the past 6 years (war) and then the economy, we’re still waiting for life to be “normal” and go back to the way we were.

I don’t think it will ever be the same. I hope it will never be the same. I don’t think it’s supposed to be the same. I don’t believe that’s the lesson.

A pulse of excitement replacing the fear has begun.  A willingness to step forward, accept and live life differently, boldly, and with excitement making uncertainty our new comfort zone.

A new direction… we can shift our perception, get out on the edge of creation, and play out of the box. Living life, not just a copy of life as we knew it to be, but life as it can be. If not, I’m afraid, the messages will keep coming!

We have the ability to turn our lives, the Country, the world around by every new step we take.

Good thoughts, bright times and a VERY HAPPY NEW YEAR where all good things are possible.

Sande Shurin and Bruce Levy

Looking at the year of work in our acting classes, before designing a new year with a new concept.

The film “Synecdoche” was the answer to the following questions: How do I further develop and have the Actors apply their imagination? How do I get them to boldly MAKE UP THEIR OWN STORY? How do I get them to deeply believe the story they make up? And how do they learn to work on material that is not terribly realistic? Now I had my first approach.

The long term goal for this imaginative work was to facilitate the Actor to be more physical both in action, physicality, and in embodying large physically different roles. This was provoked by Sean Penn’s performance as “Milk”.

So starting with “Synecdoche,” I began talking about working on this highly irrational story. For example, in one scene, a real estate agent is selling a burning house and someone actually buys it. Therein lies the strength and importance of an imaginative story and a strong account of where you’re coming from. I added that we were to find the rationality in the irrational as every character has theirs, however far reaching. Then I added tone. What is the tone of the material? The style? And then quantify your responses, so that your response is spontaneous.  Then look at if it has to be heightened or lessened according to Style, and tone. This was put into their first set up of questions and things to think about.

The second Set Up is:

1) What is going on in the scene? (not the story)  It is actually what is going on in active terms for your
character. (i.e., I’m starting life over again by moving into my new apartment.)

2) What’s my inquiry? What can I do about this? How will I do this?

3) What is the downside? What if I can’t?

4) What’s the upside/the prize when I do?

5) What got me into this situation?

Onto creating a repeatable Physical Progression:  This gives the actor a physical handle on the scene. Also it teaches how you get from here to there creatively; that is from marks to marks and blocking to blocking.

1)    First be very specific about the underlying active time such as: Arrival, settling in.
You will create your repeatable physical progression for that.

2)    What is the theme? Find one that you really relate to and are fired up to talk about.
(You will learn to speak the theme in a way that is relevant to you)
And so it becomes your personal band wagon. I prefer working this on Solo Performance pieces, as the actor is only beholden to themselves and the structure of the piece for movement.

Again a full list for your Set Up: where are you? Not random, a very specific time such as the beginning or end of lunch.

Another aspect to include is the audience: Making contact and having to tell them all of this.  What song and dance does this provoke?  Add some of that to heighten the performance aspect. This can also include walking in an extended way, sounds etc.

Advanced State as preconditioning: State implies your feelings on top of deep pure emotions. It’s how we socialize. Examples of State are: lonely, anxious, thrilled, confused, absorbed, annoyed, disturbed.

Preconditioning for Advanced State:

What state are you starting from right now?

Use the energy of that State for your Character. What State are they in at the top of the scene? Where are you coming from? Is it unrelated to the scene…are you preparing for a visit? Are you taking a bath not expecting what happens next? Are you pitched high for the scene? Let that add to your state.

PHYSICAL LOGISTICS – Are you running, sitting in a limo, in a hot crowded subway?  Allow this too to alter and add to your state.

ATMOSPHERE – Does the atmosphere of the place of the scene make you feel open and alive?  Is it closed and stuffy?  Or open and expansive?  Add that to your State.

Physical Choices – Are you Hungry, drunk, abused, elated, just broke off a relationship, just met a great date???? Raining? Snowing?

CHOICES – For example, in the movie, Almost Famous, the daughter can make a choice to be forgiving of her mom and slowly build towards a fight…Perhaps it’s close to Mother’s Day or her birthday. Or her preconditioning thoughts can be, “One more word and I’ll freak out…”

We then worked on:

REHEARSAL TECHNIQUE – Continues working on the material. (Layering) Everyone worked at the same time, using an area of the room.

Begin by clarifying what it’s about for you. (Your character) I’m moving to a new stage in a relationship…I’m moving to a new location.

Play Ball—close eyes and imagine a toss game of ball…throw, catch, throw, catch…then do it with the words.
Listen, associate, respond, land.

INTENTION
ACTION
TONE
STYLE
QUANTIFY
CHANGES
EXPOSITION, CONFLICT, CRISIS, CLIMAX, CONCLUSION.

Each time we revisit Character, it is through a different lens.

CHARACTER
Character: thus far has been focused on reprogramming your Psyche, Altering the proportions of your qualities and traits, Identity (major identity and your individual signature). Now adding the larger Physically Transformative Character’s.

When you challenge your Wall, you grow/transform. Same with PTC.  They extend you past your comfort zone, therefore opening channels – new experiences, of information, and creativity.

Step 1 is to transform your body.
Step 2 is to link up the physical and psychological. (Emotions also but we will focus on that later)

EXERCISE
1 – Eyes closed. Describe your character physically and feel that in your body. Talk about their life…what’s going on? What’s their world view?

QUESTIONS: To know my character better, what books do I have to read/newspapers, magazines? What streets would I have to be familiar with? What occupation would I have to be able to do? What films would I have to see? What beliefs would I have? What would disturb me? What fears would I have? What would my confidence level need to be?

ON FEET
Talk about the above starting with description of body. Walk around finding where their movement comes from…changes in register of voice, how they sit. Do Mono. Write backstory as it pertains to the actions in the scene, also to character motivation.  Reality talk as the Character weaving the backstory as it applies to their current life.

Part 2 CONCEPT…Example can be deep as Sally Fields’ role as Mom in “Brothers and Sisters.” Past life was a confederate soldier and couldn’t get back to save her family.

CURRENT DRIVE – Wants to keep her family together, safe and sound.

CHALLENGE – Grown up, want their own life, and don’t necessarily get along with everyone. (including yourself)

CONCEPT – Joan of Arc was Napoleon in a previous life.

Part 3

CURRENT DRIVE – To win her battle

CHALLENGE – She’s a woman

Concept is about the character, and also how you play the material.

You can use a simpler Image…An old comedienne, who still wants the limelight and who is past it.

Bar tough gal: To get out to the bars and live it up, married, has to work and make money.

After all of the large stretch work, we brought what was learned into Material and characters much closer and realistic.

BEHAVIORAL ACTION – can be planned. Put the State you’re in into an action…keep being physical with it.

WHAT AM I RESPONDING TO-
Is it your control? Your intimidation? Your confronting? Your questioning/interrogating? Respond and take it into a behavioral action.

This was a big year of learning, getting work and having the opportunity to use all of this at auditions and jobs.

Moving forward for 2010 we will be working on emotions in a grounded way. Also we’ll work on whole scripts, appearing many times within. Again, from very large extended realities, psyches, and emotions to the more subtle and realistic.

It is an absolute passion for me to create a new focus and concept each year and to help people develop, transform and be the best they can be in every given moment.

Life is long, live it well,

~ Sande

Just received a wonderful letter from Anitra Frazier, author of the book “The Natural Cat”, in compliments of  my new book, “Star Power”.

I looked at this letter as if it were an artifact from a different time period. I mean, when was the last time you received a letter? Not a bill but a personal note. I would guess that 98% of our communication is online, texts, and cell calls.

When will e-mails be a thing of the past?  We outdate ourselves so quickly, it might be sooner than we can imagine. And what will take its place?  Mental Telepathy? Or instant holographic messages that appear in front of us as we think them into being?

I loved talking with people at our Thanksgiving dinner. Yet I checked my e-mail before and directly after the event. I stand between very much liking the easier and less time consuming communication of e-mail, at my own convenient time, and the humanity of personal connection and laughter. It’s good for the soul.

“Dear Sande,

~ Anitra”

Anitra Frazier
Best-selling author, “The Natural Cat” and Broadway Actress

I am deeply grateful for my family, my friends, my extraordinary students, and my very blessed life.

My appreciation extends to the newest addition to our Acting Studio – Star Power!, the book and the workshop. I am thrilled that the results of the book are increased Star Power, personal growth and a more defined Individual Signature, along with a deeper acting technique.

The workshop is giving people of all professions a new direction or a clearer and more defined blueprint of an already established one.

I love helping people to transform, to be the best that they can be at every given moment, of opening new possibilities for a better life, career, and easier access to creativity.

Star Power! is another vehicle to get us all there. It is my contribution of clarity in these uncertain times.

Let us trust that we are all making our best efforts to help ourselves and others to adapt to these turbulent times and to transform them from darkness and fear to the excitement and adventure of living in the unknown.

Sande Shurin Thanksgiving 2009

The day before presenting the first STAR POWER! Workshop in NY, I received an e-mail from Voice America to inquire if I’d like to do my own radio show.

That same day, Bruce received well over 40 e-mails congratulating him about his acting job in the trailer of the award-winning film, “Definition of Insanity,” which is available on YouTube and directed by Robert Margolis. He also got all call from a publisher informing him that his full length play, “Sada,” which will be premiering at the Warehouse Theatre in South Carolina this coming March, will be published in its original one-act form in an anthology of the best one-act plays from the 2002-2003 season.

Two hours before the STAR POWER! event, the radio show called to interview me. We spoke for 1 hour, at which time I told him I had to get dressed for the event. So I went in knowing this was taking place in the “ZONE”, the Magical field of Creation. Why aren’t we there all of the time??? Well, that’s another Blog for another time.

The results of the workshop were contagious. One after the other, people came to a new ability and way of being. After a few hours, a participant who took the workshop with the agreement she would not have to get up and speak was the first out of her chair to speak in front of the room. Another left her long time and successful career to work more fully with her hobby of buying and renting out vacation Villas and into a new profession. Yes, I’ve followed up and this is happening. Another started writing a book that would enhance and further the Career he is in. Someone left so inspired, they booked an 11-city book tour. Another is being interviewed in the NY Times. A few Actors committed to having Star Power! and their desires ranged anywhere from a Star Career to continually being an employed working actor…and on and on. The results of Star Power! are the emergence of a new Blueprint for Career and Life, or a clear and expanded Blueprint of an existing Path.

The Star Power! Workshop far exceeded my expectations; not only in the results for participants (there I always aim high) but in the content.

I’ll explain.  The idea began with an inquiry: why does one Actor always get the job, build a great career rather than the other? Both are talented, good use of technique, similar look. Both are ambitious, get out and get seen. What gives “The Winning Edge”?

This question led to many processes and exercises, themes and topics that became the basis for my acting classes for about 2 years. (2006-2008) It then became the Genesis for my book Star Power…Defining Your Individual Signature.

I added Anecdotes, Acting technique exercises, Interviews with Industry Professionals, Acting for different Mediums and it worked its way into Star Power: what is it? And how do I get it?

It also intertwines with another theme which is that The Creative and Spirit world are One, two seemingly divergent ideas that are reconciled within the book.

Star Power! has a life of its own. My husband and creative partner, Bruce Levy, realized that Star Power! works for everyone in any Profession. Who doesn’t want what I call the Winning Edge?

Once I started creating the Star Power! Workshop, I was confused. The first part of the workshop deals with variations on a few Signature exercises. But the bulk of the workshop is all new, never done before and not included in the book. Of course I went with where it was taking me… and that is, it takes off from where the Book ends, resulting in a new blueprint for Career and Life. Thrilled, thrilled, thrilled that I worked through the confusion, and allowed its creation to guide the way.

Continuing on the theme of the similarities of utilizing the acting exercises and inspirational thoughts that I use for teaching actors being equally as beneficial for one’s life…

This week is Part II of Your Personal History.

Last week I spoke about the value and pitfalls of Character history.  The value in doing it is as it’s relevant to the current script, actions, motivations that trigger.  The pitfall is in playing it and making choices on past history vs. finding the moment that can be different.

Ok – so Life!

Your life history is good for the child as they feel that they belong. They are part of a unit.   They have certain guidelines.  They can learn how to keep themselves safe.

By teen years, we’re looking at how to be different and finding new role models – the gorgeous/handsome Model, the popular Friend, the famous Actor/Actress.

In adulthood, we either confront the fact that there’s more to us than meets the eye.  We can tap into our own likes/dislikes – spontaneous reactions and feelings, dreams and aspirations – and we can create and step into a new vision of what we are now in this very moment.

If not, our lives and relationships will be a carbon copy of those first few years.  History needs to provide a base for us to step out of to become who we really are.

Actors create the Character’s backstory (history, experiences). This best serves when it is hooked into what the Character is doing and why the Character behaves as they do in the current moments of the script. Also how it pertains in the Character’s motivation.

This is a very good grounding exercise. However, don’t play it and don’t make all of your decisions because of it. For example: you might discover that you and your sister and brother have always argued and that they have always criticized you. That’s the history and the scene itself seems to fortify this thought. To compound things, you have a sensitive issue to discuss with both of them.

Now, here’s how to work with that. Instead of playing into that history of relationships, create a scenario where you are constantly looking for an opening. Notice anything they do that could be interpreted as a soft, kind or lenient moment and work into that. Use that as an opening to speak to them. This will work even if your line of actually discussing the issue comes a few moments later. Look for the openings, the times that are different and not historic, even if they never come.