Training for Actors and Performance Artists
New Two-Day Intensive Workshop in Lisbon, Portugal
September 11th and 12th, 2pm-7pm
Hosted by Companha Olga Roriz
At Palàcia Pancas Palha, Rue de Santa Apolònia n°12 a 14, 1149-044 Lisboa, Portugal
Polina Klimovitskaya is an internationally respected Master Teacher of Acting and Directing. Through her methodology, Kinetic Mind, she guides the actor through a highly individualized, transformative training that prepares the actor’s body to speak truthfully and that merges the artist’s intuitive core, physiological body, and imagination. Her objective to understand the unique nature of each actor’s talent and what obscures it, and to help actors develop a unique personal training and process – one that is as clear for actors as it is for dancers and musicians.
Training with Polina is a process of becoming one’s own creative guide and developing professional technique. Students learn the fundamentals of acting as both an art and craft with uniquely tailored exercises and explorations they can apply on their own daily. Text analysis, body-mind training, and scene study merge to offer the actor true freedom, spontaneity, and clarity while working on any audition or role. Students grow into actors who excite the room and bring something real to the audience.
Classes
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Dramatic Arts Atelier
In-Person 3-Hour Weekly Class
Sundays 3-6pm EST
Alchemical Studios, 50 W17th St
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Text Analysis
2-hour Weekly Zoom Class
Mondays 1-3pm EST
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Kinetic Class
1-hour Weekly Zoom Class
Thursdays 1pm EST
Mondays 9pm EST
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Private Coaching
Private Session or Audition Coaching by appointment.
via Zoom or In-Person
from Polina:
The roots of the knowledge I share with my students was developed from two directions in dramatic arts: the old classical tradition of Russian Theater and the transformative one made up of visionary rebellious artists of the 20th century who created the celebrated Russian Theater and laid the foundation for the modern one.
I was trained in Moscow. Several of my teachers were direct disciples of legendaries: Stanislavsky, Meyerhold and Vakhtangov.
They taught me not only the wonderful craft of the dramatic arts but also a beautiful and noble vision of the way our creative craft can serve humanity and its spirit therein. They instilled in me the commitment to the continual quest to keep that vision alive.
That vision came in direct conflict with Soviet censorship and therefore, my shows were forbidden and I could not continue working in the Soviet Union. Gratefully in 1975, I was admitted to America as a political refugee.
Shortly thereafter, I was admitted to Yale University and continued my quest for a new theater home. I also had the wonderful opportunity to work with several great American artists as well as with European ones. All of this helped me to integrate the knowledge and experience I brought from Russia with the new perspectives from these American and European creative artists. This unique angle, my way of teaching the craft, is an integrated happy marriage of the old classical traditions with American and European Avant-Garde explorations.
I believe that there is an objective universal timeless law at the foundation of the creative nature of the dramatic arts. Therefore, I do not believe in the fixed methodologies/systems because the way those objective principles are absorbed and embodied within each of us are subjective and unique to each person, influenced by each culture and each historical time we are living in.
My job as a teacher is to introduce my students to the true nature of acting and drama while helping them to establish their own creative process that manifests into the memorable electrifying performances directors and audiences seek. By going through this journey, you will discover and realize your own unique original genius. I look forward to working with you.
Polina Klimovitskaya
“The ultimate transformation of an actor into a person is a mystery, and a mystery can’t be approached in a logical way. Our training is an endless way of being prepared and available for that transformation to take place. It requires cleaning the inner space and cleaning up what obscures the creative flow. The uniqueness of an actor, the truth and originality, makes an actor available for that mystery to take place. This requires continual work on integrating every cell of one’s mind, body, imagination, into one harmonious unity; it requires developing artistic awareness, which is the main attribute of a professional actor. ”
— Polina
Introduce your brand
Dramatic Arts Atelier
In-person class.
A space for actors, directors, and performers train in the pure craft of acting, to learn to work with each other, and develop their personal creative processes.
Performance artists of all kinds are invited.
Creative Dynamics of the Actor
A weekly 2-hour class dedicated to the actor’s process. Kinetic work, actor’s tools, and more explorations on the creative process are applied to developing characters, scene work, text analysis, and monologues.
Kinetic Class
An hour of kinetic exercises for artist to develop presence, integration, and creative energy and exploration.
Private Coaching
One-on-one attention for an artist’s needs and audition coaching.
About Polina
What it’s like to work with her
Contact
Ask questions, inquire to learn more, or request to take class.