>>>: Let´s go to Tokio . 2008

Photos Sbastien

Styling & Art's Felipe McWallace
Model Michael Grundstein (Traffic Models)
Adidas, Y3, Lee y lomografia
Calle Mexico

About Me

Nacido en 1980 en la ciudad del Río de Janeiro Brasil. Licenciado 1998 a 2003 en Maketing y Publicidad.
* Estudio: Arte Contemporaneo, Sociologia, Dirección Cinematogràfica, Fotografia Contemporànea, Dirección de Actores, Realización y Produción Audiovisual en la Universidade Estácio de Sá do Rio de Janeiro.

Formación profesional de Interpretación en Arte Dramatico
*O Tablado Rio de Janeiro.

Casting para la publicidad, videoclips, largometrajes, cortometrajes, catálogos de moda "H magazine, Roket magazine, Freek Milan"

Tengo más de 5 años de experiencia, la investigación y el descubrimiento de los más diversos personajes y tipos específicos para cada producción.

El desarrollo de un trabajo de "StreetCasting" cada proyecto específico.

Los principales productores en Brasil: Zohar Cinema, Academia de filmes, YesFilmes, Cinematografico, TvZero, O2Films...

Diciembre 2009
DRAPART . CCCB

Relaciones Públicas |Evento|

Enero 2008 . Noviembre 2009

Wild Side Party by Malboro . Barcelona
"Carlos Diez, Bread & Butter"
Productora La despensa . Madrid

* Casting performing arts

It sometimes involves a series of auditions before a casting panel, composed of individuals such as the producer director and/or chorographer In the early stages of the process, candidate performers often may present prepared audition pieces such as monologuesor songs. Later stages may involve groups of candidates attempting material from the work under consideration in various combinations; the casting panel considers both the talent of the individual actors and the chemistry of their combination.There are exceptions to this. When a Casting director is working on a Print Advertising or TV Commercial casting project, then the talent comes in and is photographed or put on video with no one else in the casting session. The day's work of all the talent is then viewed on a website by the clients. A choice can occur that day or the next day with the production being only days away. There is more of this type of casting (commercial/print) going on than any other type.Depending on the prestige of the role, casting calls may go out to the public at large (typical for community theatre), to professional and semi-professional local actors (for supporting roles in teatre and film) or to specifically selected actors (for leading roles, especially in films).In the production of film and television, a similar process is followed. However, especially for major productions, the process of selecting candidates for sometimes hundreds of parts and possibly thousands of extras may often require specialised staff; while the last word remains with the people in artistic and production charge, a Casting director (and/or Casting Assistant, Casting Associate) may be in charge of most of the daily work involved in this recruiting process during pre-production ; in addition the "CD" may also remain as liaison between director, actors and their agents once the parts have been cast.

(...) fashion, eidos, archē, telos, energeia, ousia |essence, existence, substance, subject|

(...) the entire history of the concept of structure, before the rupture of which we are speaking, must be thought of as a series of substitutions of centre for centre, as a linked chain of determinations of the centre. Successively, and in a regulated fashion, the centre receives different forms or names. The history of metaphysics, like the history of the West, is the history of these metaphors and metonymies. Its matrix [...] is the determination of Being as presence in all senses of this word. It could be shown that all the names related to fundamentals, to principles, or to the centre have always designated an invariable presence – eidos, archē, telos, energeia, ousia (essence, existence, substance, subject), alētheia, transcendentality, consciousness, God, man, and so forth.

Improvisational Teatre

Improvisational theatre allows an interactive relationship with the audience. Improv groups frequently solicit suggestions from the audience as a source of inspiration, a way of getting the audience involved, and as a means of proving that the performance is not scripted. That charge is sometimes aimed at the masters of the art, whose performances can seem so detailed that viewers may suspect the scenes were planned.
In order for an improvised scene to be successful, the actors involved must work together responsively to define the parameters and action of the scene, in a process of co-creation. With each spoken word or action in the scene, an actor makes an offer, meaning that he or she defines some element of the reality of the scene. This might include giving another character a name, identifying a relationship, location, or using mime to define the physical environment. These activities are also known as endowment. It is the responsibility of the other actors to accept the offers that their fellow performers make; to not do so is known as blocking, negation, or denial, which usually prevents the scene from developing
Because improv actors may be required to play a variety of roles without preparation, they need to be able to construct characters quickly with physicality, gestures, accents, voice changes, or other techniques as demanded by the situation. The actor may be called upon to play a character of a different age or sex. Character motivations are an important part of successful improv scenes, and improv actors must therefore attempt to act according to the objectives that they believe their character seeks.