In this Intense workshop we offer actors and actresses the opportunity to confront their current (artistic) profile and, consequently, to (re)position themselves as actors/actresses.


In doing so, and in addition to the “hands on” approach pursued by us regarding actor’s training, we focus on interview techniques and on the pitching of the individual’s (acting) personality.

My own experience of the past few years has shown that next to coping with the consistently growing demands made by the film-, television- and theatre industry which an actor/actress is constantly faced with, it is also important for the latter to create space for a modern, philosophical approach of the craft which flows into a realistic view of the status quo. Only when I know where I stand do I know where my next step(s) can lead me.


We would like to support actors/actresses in embracing and embodying their craft in an authentic and credible manner in order to cope with the manifold practical challenges posed by it.


How can I structure my life in such a manner that I can deliver a successful acting performance on the spur of the moment? How do I strike balance when facing inconsistency, how do I establish for myself the urgently required disciplined attitude and approach? When is it a time to train, when should I relax and do absolutely sweet nothing?


Whenever we admire actors/actresses, then those who are completely at ease.


Is there an interesting acting attitude and posture to life, to acting on stage or in front of the camera? Anthony Hopkins once formulated it so appropriately: “I don’t play any parts, I play people”.


We offer space for:


The joy of acting both in front of and for the camera (monologues, dialogues, anecdotes, cold readings, improvisations, the art of personal introductions, personal conduct during interviews, analysis of acting during close ups, etc.)


Individual assessment of takes, casting-specific analysis of the current acting personality, feedback on own profile, ensemble training, scene analysis as well as field-specific know-how.


Create own career perspectives. What does it mean to be prepared when opportunities arise? How do I create opportunities?


Since 2002 I have met many actors/actresses during castings, on the set or on stage, at premières, at festivals and during personal conversations. Such a meeting can last one second, one minute or an hour. Meetings during work can take even weeks and months.


What makes a meeting successful for all participants? When does an actor/actress make a memorable impact?


I meet professional actors/actresses at the same eye-level, and look forward to his/her own point of view.