Just Audition
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Just Audition

A/62,63 Bhayander East, Thane, India- 401105.

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Overview

Just Audition, started its operation in the greater hub of Thane associated with providing coaching classes related to Acting for all

Address

A/62,63

Devine Sharation Plaza,

Bhayander East, Thane, India- 401105.

Acting classes Overview

Acting classes

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Acting classes

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Just Audition conducts classes in Acting. It is located in Bhayander East, Thane. It takes classes Regular Classes- at the Institute.

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RRITIKA P. photo

RRITIKA P.

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HI I Am Rritika Parashar. i started acting when i was five.and after that i never stop.from little hanumaan to wedding...

About me

HI I Am Rritika Parashar. i started acting when i was five.and after that i never stop.from little hanumaan to wedding albums radhabai .still lot more to go. CHILDREN THEATER I have done many stage plays and theater workshops with children's.and still running for it.i love doing theater with children's because i feel i also had a child inside me who always want to have fun, masti, masa and learning with each other . WORK WITH IN PLAYS AND WORKSHOPS(DIRETORS) NSD/TIE DEV RAJ ANKUR, K S RAJENDRAN, VIDHU KHARE, NUSHAAD, V K SHARMA, KIRAN SHARMA, NISHA TRIVEDI, AJAY SHARMA , INAAMUL, GOVIND RAJU BHARADWAJ, DAN SINGH, RAKHI CHUHAN , PRIYANJKA PATHAK AND MANY MORE EMINENT PEOPLE OF THEATER. Workshop Director Miss.Ritika Parashar Introduction to Acting ActingTechnique Voice & Speech Body language & Movements Improvisation SceneStudy Text Analysis Stage performance technique NOTE: WORKSHOP HAS been formulated keeping in mind children of age group 7 TO 12 years and above. Introduction to Acting Actingis not serious. Acting is a game of make believe. It isn't serious by nature orin essence. The actor needs to empower the fun aspect of his or her workthrough the training, practice and rehearsal of tools and exercises, which aimat freeing the playfulness, joy, artistry and genius of the actor to its full& unique self-expression. The actor is his/her own instrument. She/he hasto be convinced that whatever the situation and whatever the demands orcharacteristics of the role, the doing of acting isn't serious. That is themost significant understanding fundamental principle an actor can assimilate, and this principle represents the gateway to how much joy in acting and depthof feeling an actor can achieve. This class will be anintroduction to the various well-known acting techniques of the Master ActingTeachers. The classes will begin with basic ensemble acting games and warm ups.Students will first explore the work of Konstantin Stanislavski, then move tothe Method of Bertolt Brecht and briefly discussing the role of natyashastra, then continue to the work of Michael Chekhov (the psychological gesture), Grotowski (physical approach/“outside in”;). The classes will include a briefhistorical background of each of the Masters, as well as a discussion of thedevelopment of each of his techniques. Students will then be introduced tospecific exercises attributed to each Master and asked to work on them outsideof class and to perform them in class. Topic covered - Facing Audience & Removing Inhibition, Freeing Mind& Body. Vocal trainingto remove physical and emotional blocks, which inhibit the free and natural, voice. This work teaches actors to express the full spectrum of emotion, complexity of mood, and subtlety of thought needed to fully portray acharacter. Work in articulation and diction is intended to remove pronounced regionalisms and equip the actor with clear, articulate speech. Topic covered - Voice Projection & Voice Modulation and diction. Developing an ability to adapt physical movement to any character requirement. These courses use mime and specific relaxation exercises. Goals are to achieve an understanding of underlying relationships of carriage, gesture and spatial relationships, and to develop strength, endurance, limberness and articulation of the spine. Actors need an understanding and awareness of the correct use of their physicality. They also need to be able to use their body effectively to realise character, emotion and narrative through correct and appropriate use of physicality. Actors need an understanding and awareness of the correct use of their physicality. They also need to be able to use their body effectively to realize character, emotion and narrative through correct and appropriate use of physicality. Topic covered - approaching a character, Observation. To develop spontaneity, to train actor to behave logically and truthfully, and to listen and respond to his partner, the actor practices improvisation—dramatizing contrived situations without a script. Improvisation is of enormous importance in the process of training and also of performance.It teaches the actor to speak rather than to read his lines, and it breaks his unconscious. Scene Study Working on scenes from published plays and screenplays allows actors to learn all of the basic concepts of approaching a scene: defining objectives, breaking the scene down into beats, understanding the arc, pursuing your objective, playing actions, and working to overcome obstacles. This class provides the most basic technique for understanding acting, Building analytical skills: how to set the acting tasks, seeing the point of the scene. Developing the ability to create the framework of given circumstances and relationships, and living imaginatively within them. Topic covered –western & Indian classical text. Text Analysis Examination of non-dramatic and dramatic text, including a study of poetry and verse plays, with the purpose of helping the actor to make a direct connection of voice and body with the written/spoken text, while freely expressing individual thoughts and feelings in the text. Topic covered - stresses &pauses. Practical stage performance techniques with emphasis on developing and projecting confidence and on improving the actor's physical self-image. REQUIREMENTS— An empty classroom/Hall and a Music system. Age groups: 5 to 12 , 14 to 18 , 20 to 30, 32 to 60 Electronic media consists of radio &television, this medium is very powerful and today the world is addicted tothis. We just can’t survive without television. Like Roti, Kapada and Makan, TValso has become the most essential part of our life. This programme introduces the student to the theory and practice of film making the emphasis is on the craft of film production, scripting, shooting, editing, sound recording and computer graphics. The activity also attempts to equip the students with analytically skills to read of film of class, gender, technology, economies and aesthetics to create multiple levels of meaning. Course Content:- Photography Theory& Practice 1. History of Photography-Properties of light principle of photography. Photographic tools material and Process 2. Composition tips.Developing special eye for photography. 3. Basic tool, Camerastructure, types, SLR, TLR, light controlling Devices, Depth of field, exposure. 4. Lens-wide, normal, tele, zoom lens, focal length relative aperture, Image quality. 5. Out door Shooting-step by step progress towards better photography. Effective use of reflector, controlling depth to control background, position of sun, reflector position, getting correct exposure. 6.Studio flash light, basic 3 point formula for lighting, what is portrait, Head & Shoulder, Group etc. working with model, requirement of camera, lenses, accessories tocreate special effect. 1. Idea Developmen Idea as a seed of programme, source of idea, practical approach towards development of idea into programme. Initial research, planning, time and money management; stages of production, structure of a programme. 2. Direction Production Crew members, their responsibilities in production, Directors command and floor discipline. 3. Composition Composition creates meaning. Three basic approaches towards composition. Concept of changing image size and changing view point. Dynamic composition colour impact and emotions.Internal and external composition. Imaginary line, continuity, contrast and space balance incomposition. 4. Script writing Non fiction-Developing idea into script, Treatment, synopsis, screenplay AV script and story board.Planning and writing narration as per structure of programme. Fiction- divide story into 3 act formula, planning turning point developing direction and dimensions of the fiction. Film Making Theory & Practice 1. Film Making as anArt: The nature of art, film, photography, and painting. Comparison- film and the novel, film and music, film and environmental arts. 2. Types of films:Documentary, fiction and animation. 3. Mise-en-scene: The realism, power and aspects of mise-en-scene. 4. Visual Analysis (Howto see films through a film maker’s eye), story analysis, Camera Analysis, Continuity Analysis, understanding relations between picture, dialogue, music and effects. Analysis of structure of film using selected extracts as text material. 5. Film History: Early cinema, classical Hollywood Cinema, golden period of 1950, today’s cinema and its impact. 6. Creative aspect of Director: Director as an Artist, Director as a Visualizer, Director as a Story Teller, understanding the psychology of target audience, understanding visual shapes, abstract figures, music, noise, and composition. 7. Technical aspect of Director: Director as a Cameraman, Director as a Video Editor, Director as sound Recordist. Relation between Director and Cameraman, director and Video Editor, Director and Music Director. Director’s relation with other Crew members.


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