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I enrolled in an acting workshop and my first acting role was on the TV soap opera 'Melrose Place.'
For me, I'd rather be the inventive one, and if something doesn't work, I'll go back to the workshop, put it on the bench, and pound on it for awhile.
My first workshop was in Rome, and that was the start of House of Waris. In a little magical atelier, a goldsmith, his apprentice, his stone setter - and that was where it began.
I have to say, speaking from experience, just because an actor starts out in a role in the workshop, they won't necessarily play it when it goes to Broadway.
I took a fiction-writing workshop my sophomore year at Northwestern, and I hadn't yet read Junot Diaz or George Saunders, Flannery O'Connor. There was something so attractive about those voices.
When I say that I went to grad school in Iowa City, people often assume that I went to the famed writers' workshop MFA program at the University of Iowa. I didn't. I got a master's in journalism.
Chicago is an exciting place which renews itself. The workshop system encourages close reading and frank discussions of papers and ideas.
I remember when I was in graduate school and someone in workshop would say, 'I'm going to bring in a chapter of my novel.' The thought that someone could think they'd write a whole long thing... I could only see twelve pages ahead. But then I realized that if you could see twelve more after that, you can start.
I was not going to use writing for advertising or journalism. I would tend bar, load trucks, chauffeur - do whatever it took. But from the moment I took my first writing workshop, I was a writer.
I met Kevin when I was 19, at a Second City workshop. We were paired up together in the first class I went to. By the end of the class we formed our improv group, and over the next three years we performed leading up to the formation of The Kids in the Hall.
The first twenty shows at TV 23 were really a workshop.
I used to hang out in my dad's workshop on weekends. Later, when I was starting out as an actor, I became a roofer and a framer to make money. But what I really enjoyed was the finished work. I like the longevity.
When I did musicals in London a number of years ago, I was in a workshop scenario for a year or more with 'Bombay Dreams.'
We've had to set a workshop up; we've had to equip the workshop and everything else. But all that equipment is there now and whatever projects they want to use it for in the future.
I was quite young when I went to a drama workshop. I was around 9 or 10. I showed interest in it. I never saw it as a career. At around 16, I knew what I wanted to do.
I danced from the age of three, so I was always going to do something performance-related. I got into the Television Workshop drama group in Nottingham when I was 11 and went there for ten years.
There are seldom more than a couple of students in any workshop who seem natural writers.
If they're working in a workshop somewhere, where there is, let's say, uh... only twenty people, or something like that, that's still, when they work and do a scene, that's still working in front of somebody.
After going to theater school, and then subsequently dropping out, I would say that when I first went to Chicago and learned long-form improv, that was a far better acting workshop than any acting school I've been to.
I was painfully shy, so my aunt suggested to my mum that me and my brother go to Stage 84, a performing arts school in Yorkshire. I've probably romanticised it in my head, but I seem to remember that in the space of an hour's drama workshop, I was transformed. I went in really shy, and I came out full of confidence.
A. P. J. Abdul Kalam
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