Acting Teacher & Coach | Theatre Scholar
M.A. Theatre History and Criticism, UCLA
Acting Teacher & Coach | Theatre Scholar
M.A. Theatre History and Criticism, UCLA
Acting Coaching
Immersion Retreats in Italy
Acting Coaching
Private one-on-one coaching for professional and emerging actors working in theatre, film, and television, with a focus on scene study, acting for the camera, audition preparation, text analysis, and acting in English.
Writing Coaching
Immersion Retreats in Italy
Acting Coaching
Private writing coaching for writers working on memoir, personal essays, screenplays, long-form projects, and hybrid forms, with a focus on voice, narrative, character, and revision.
Immersion Retreats in Italy
Immersion Retreats in Italy
Immersion Retreats in Italy
Private five-day immersion retreats in Verona for writers and actors seeking concentrated time to develop a particular project, role or creative investigation.
Caren Adorni
Caren Adorni is an international acting teacher and coach whose work bridges professional actor training, theatre scholarship and more than twenty-five years of teaching experience in the US and Europe.
She holds an M.A. in Theatre History and Criticism from UCLA, where her research focused on Eleonora Duse and modern European performance history. She also holds a B.A. in Philosophy with Honors from the University of California, Santa Barbara.
She trained at the Lee Strasberg Theatre Institute in Los Angeles with David Strasberg and Hedy Sontag. Caren founded The Actors Abbey in Los Angeles in 2000. She has taught Acting for the Camera at Santa Barbara City College, Acting in English and Scene Study in Rome at Studio4Cine, Teatro dei Contrari, and Laboratorio di Arte Sceniche.
Most recently, she served as a Visiting Professor at USAC in Verona, teaching Shakespeare in Italy through an experiential approach integrating text, performance, history, and place.
Teaching Philosophy
Actors are crafted storytellers.
Actors use their craft to express the complexities of what we call the human condition.
However, an actor needs much more than craft. An actor needs empathy.
I have found that it can be difficult to teach empathy.
But I have also found that through encouraging actors to look at others’ lives, their triumphs and their struggles, empathy can be cultivated.
Through this new way of seeing, I’ve witnessed actors move beyond egocentrism toward a deeper attention to others. It is an experiential shift, not a theoretical one.
When this happens, an actor’s work is forever changed.
