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BIO
Caren Adorni has been a professional acting coach in Los Angeles for over 20 years. She founded her own acting studio at The Venice Art Block in Venice, California. Caren has trained actors for roles in Film and Television and is a member of the Screen Actors Guild. Her inspired teaching is grounded in The Stanislavski System. In addition Caren is an Adjunct Theater Professor at Santa Barbara City College and her classes have been accredited at New York University. She is working on a book about Eleanora Duse (b.1857), the Italian actress who Stanislavski claimed inspired him to pursue his life's work on the creative process of the actor.
Currently, Caren splits her time between Italy and the US.
NOTEWORTHY
- Master’s degree in Theater UCLA
- Alumni of The Lee Strasberg Theater Institute, Los Angeles
- Instructor at Loyola Marymount University, Los Angeles
- Trained in the work of Etienne Decroux (mime) and The Alexander Technique (body alignment)
- Produced and directed a series of showcases for her students in Los Angeles including the work of Tennessee Williams, John Patrick Shanley, Sam Shepherd, David Mamet and many other contemporary playwrights.
- Other directing credits include an adaptation of Anne Sexton’s Transformations for The Electric Theater Company in Venice, California.
- Invited to teach at: Nosen Fjell, Oslo, Norway; The 6th International Festival of Making Theater, Athens, Greece; Studio4Cine, Rome, Italy; Laboratorio di Arte Sceniche, Rome, Italy.
- BA Philosophy UCSB
- Participated in The Pan Theatre of Paris Aphrodite Festival in Avignon, France
- RYT 200 Yoga
- Level 2 Reiki Practitioner
Teaching Philosophy
“Humans think in stories, and we try to make sense of the world by telling stories.”
--- Yuval Noah Harari, Sapiens: A Brief History of Humankind
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 make that courageous leap from egocentrism to altruism. It is an embodied experiential leap, not a theoretical leap.
When this happens, an actor’s work is forever changed.
