Development of your artistic personality and profile concerning:
Entrance exams, auditions, castings, on set coaching
Body language and presence
Scenic conversion for singers and musicians
Breathing technique and vocal training
Creative writing and dramaturgy for stage and film projects
Development of directors concept/approach to a given script or text
Theatre in School / Theatre pedagogy
My education, teachers and mentors:
American Academy of Dramatic Arts
Lee Strasberg Theatre Institute
Herberg Berghof/Uta Hagen HB Studio N.Y.C
Jerzy Grotowski Theaterlaboratorium Wroćlaw
Andre Gregory The Manhatten Project
Eugenio Barba Odin Teatret Holstebro
Frieda Goralewski (Goralewski/Gindler Method)
Vladimir Rodzianko (Voice und Movement)
Krzysztof Kieslowski (Filmediting Analysis/ Acting for Directors)
Michael Ballhaus Director of Photography Seminar DFFB
Horst Königstein NDR and University for Media Cologne
Billie Lynn Daniels
Raymond M. Turner
Max Keller (Seminar Lighting Design)
Since 1978 teacher in public and private acting and music schools, lecturer for teachers postgraduate professional education, acting teacher at Vienna Conservatory, Joop van den Ende Academy and member of Hamburgs Thalia Theatre's pedagogical department, teacher and director at KLS High School Berlin.
Actress for stage, film and television in more than 100 productions,
simultaneously work as author and director.
As a coach Benita has given me my voice. Our training began with the stabilization of my voice, the finding of a clear stable tone.
Through my work with Benita I realized that my theme to find my own voice was the most important chapter for my success as director and that I should continue my work with her as my coach. While working with her we analyzed various texts newly and differently and she posed the right questions to generate answers from within myself.
Every director has to ask herself in which way the text is highly relevant for her and why it should also be thrilling, current and of existential importance for others. Only then as a director I can convey a concept to my actors and enthuse my audience. To feel this wisdom and its consequences in my mind, my soul and my voice was truly the most enriching and decisive experience in my work with Benita, many thanks here for, dear Benita.
Some teachers correct: 'no!' 'that's wrong!' etc. you on the other hand add to what I have.You encourage not only new experiences and techniques but you make sure my whole body and self are involved. I feel through our lesson that I'm unusually focused on what I'm doing, which is why you are able to make series of corrections which feel more like I'm being steered than told everything I'm doing wrong.
You taught me how to develop a song for performance, how to stay assertive and confident and take new risks. You bring me several steps forward toward getting the essence of what I want to say with the song and your teachings are entirely tailored to my strengths and weaknesses. Due to living on another continent I only get a lesson every six months and each one clearly raises my art form.
Benita was my first acting teacher and has encouraged me to look into the emotional abysses of the characters and try out unconventional approaches and expressions, risk something. I have learned to trust: The power of the words, my impulses, my intuition and my personal expression in style. So out of the craft of my trade that I always use in my work. her decades of experience as teacher and her uninhibited interest in theatre and people enrich all our encounters.
In Benita I fully trust. For the most diverse parts she intuitively finds my authentic expression within the shortest period of time. This process is thrilling and joyful. Her precise awareness of body language/expression, voicing, articulation and her keen character analysis help me to arrive at an interpretation in harmony with my personality, which allows me to feel safe so that I am always best prepared for castings and rehearsals.
Benita has introduced me to animal work, a method in which you relate a character to animals, examine and investigate their body language and then connect selected experiences of that investigation with your part. In her empathic and precise ways she has taught me the basics and principles of this approach for finding the character so that I am now able to employ it in my own teaching successfully.
Benita's passion and dedication to the art of theatre is inspiring and constructive. The key: she observes and listens carefully to me. Whether we work on a Patrick Marber play or Theodor Fontane's “Effi Briest”, through her treasure of experience, each and every time I find new depth in myself and in the characters I perform.
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