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Alyssa May Gold
(How I Learned to Drive on Broadway; Arcardia on Broadway; Taking Woodstock; Divine Secrets of the Ya-Ya Sisterhood)
"I walked away with unequivocal evidence that my body knows what it is doing and my mind’s job is to guide it towards trusting itself. If you take this workshop, you will experience the wisdom of your subconscious."
Deb Radloff
(The Marvelous Mrs. Maisel)
“There was something really special about the work happening at Brazen Light where you could see a lot of us, myself included, coming from that, ‘Is this question a trap?’ There really was no wrong answer which I appreciated during the work.”
Mark Koenig
(Smash, 30 Rock, Marry Me)
“[Brazen Light] provided an environment that reminded me that I can hold space for myself, not only as a human being in this industry, but I can hold space for myself in my own creative process.”
Brian Christian
(Filmmaker, Person of Interest)
“[Brazen Light] helped me become more knowledgeable about how to work with actors and the roles they play to give a compelling performance.”
Our Philosophy
Have you ever been told to “take risks” and “fail big” only to be criticized for making the "wrong" choice?
Discover our unique method, a fusion of intimacy practices and active analysis, designed to help you find the safe space inside yourself and the freedom to make bold choices so you can access the spirit of collaboration, no matter the circumstances.
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What is Intimacy?
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Intimacy is not just about playing scenes with sexual content or nudity. It's the ability to be vulnerable in front of others. It's about creating intimate energy without physical touch. Intimacy Coach Mara Lee Gilbert guides actors through personal and group conversations that embolden them to be their most present and authentic selves and fosters a community of artists able to work together free of judgment or restriction.
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What is Active Analysis?
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Stanislavski's final contribution to actor training turbocharges "table work" by giving actors the tools to test their analysis and discover the most effective choices. Actors will devise and perform scenes, called etudes, that portray off-stage events in their character's life (e.g., Treplev's first suicide attempt in The Seagull), a psychological aspect of their character (e.g., a wrestling match between King Lear’s Edmund and Edgar to decide the true heir to their father's title), and improvised versions of on-stage scenes that will test the effectiveness of the actor's choices (e.g., What is the better action for Lady M in Act 1 Sc. 7 of the Scottish Play: To shame Mac or to reign him in?) Etudes give actors the opportunity to experience the psychology of their character and measure the success of their analysis. They are the exclusive method for training and rehearsing at the famed Moscow Art Theatre.