The work of the coach in our self-image is to unleash, to create clarity and to mobilize the actor’s energies in such a way that s/he can devote himself/herself to work on the set, at casting/audition or in rehearsal and, based on his role competence, to deal with the given circumstances in an enjoyable, flexible and playful way.
In the development of roles for film and television and the accompaniment in the rehearsal process at the theatre, the aim is to discover the “engine”of the role and its facets in a physical-sensory way and to place it in a dramaturgical context. How detailed the preparation is, depends on the needs of the actor. It can be the role work with SourceTuning as the foundation for your own preparations, or it can be detailed work on the script based on this role work. In any case, the joint preparation offers the actor additional inspiration, security and time relief.
Since there is a rich background knowledge of production conditions, individual coaching can also address particular difficulties in dealing with formats or shooting conditions. Through the medium of systemic constellation, actors can become aware of their own traps and clarify their goals.
In the accompaniment of long-term artistic development processes, the aim is to strengthen the actor in his or her professional integrity and the confidence in his or her acting instrument. Acting “traps”and self-repetition can be avoided by working together, weaknesses can be turned into strengths and, over time, evernew facets can be discovered and developed.
Also in dealing with the media, for example interviews or participation in shows, rothcoaching can support by providing interview training and a clearer demarcation between the private person and the public persona.
In the case of large projects, it is advisable to contact us early in advance, so that the working concept can be adapted to the time available. Team members of rothcoaching in the coaching area are comprehensively trained in the use of SourceTuning.
The advantage of this work for the actor/actress is that s/he receives material on the experience level that s/he can use directly for playing. It is not necessary to translate the information for the playing afterwards, as is the case with an imaginary biography, for example. In a short time, an emotional memory of the figure is created quite organically. Behavioural patterns emerge that directly serve the acting process and the work on stage and in front of the camera.
The role shows its core in a short time between 1 and 2 hours in many facets and in its deep motives. It can be experienced from within, instead of being constructed from the outside. This process is easy and effortless despite its depth and complexity. On the contrary: the more relaxed the actor lets things happen, the more varied, precise and colourful the results.
As an artist, I see myself on a constant journey of discovery with the gift of looking curiously at people, their deepest longings and motivations. As a coach, director and actor, I want to open up spaces for new insights into connections that provide the basis for solidarity, empathy, communication and a high quality of acting.
My acting education at the School for Acting Hamburg until 1993 was physically, sensually and intuitively oriented, following the teachings of Grotowsky and Stanislawski. After my training I played for several years at various theatres in Germany from independent productions to guest contracts at theatres like Schauspiel Köln and Schauspielhaus Hamburg.
I was being engaged almost all the time, but in rehearsals I often missed the kind of trust and creative work that had to do with ease and openness as I knew it from my training days. The longing for more joy in preparation, a more physical and intuitive approach, the truly unprejudiced discovery of a role grew during my theatre years.
Already during my training days, I had successfully helped colleagues to prepare for auditions and recognized my talent in encouraging people to show their potential and creativity. In 1999, I moved to Berlin with the intention to realize my artistic dreams there and to give space to my vision of acting in workshops and my own theatre- and short film projects as a director. With success and great satisfaction for me and the actors.
With the move to Berlin, I became interested in the medium of film, both as an actor and director and as a coach. With my teaching position at the DSA (German Acting- and Media Academy), which mainly concentrated on camera acting, my coaching offers also became film-specific.
I had my first production coaching on set in 2005 for the historic telenovela “Braut wider Willen”(“Bride against her Will”) by Grundy Ufa. As in other productions later, I was allowed to develop roles and their relationshipswith each other with a whole ensemble and thus bring the actors to the start of shooting in a relaxed manner. This taught me great respect for work in daily formats where teamwork is the key. In no format is it more obvious that everyone on the set is dependent on the other.
My areas of responsibility were varied and gave me a comprehensive insight into the film production apparatus. I was there behind the scenes to maintain motivation and inspiration over a longer period of time, to bring actor concerns to the production and vice versa and above all to get the best out of the scenes together with the director and actors on the set. The highest degree of precision in communication was required in order to feel what the director was wanting and to be able to assist the actors in accepting and translating those wishes in the short time available.
I supervised the last series “Hand aufs Herz”(“Hand on Heart”) in 2011. Afterwards I had the desire to develop myself further and go into more depth with good stories and actors than the daily format allows. This opportunity was and is given to me and since then I have focused on personal work with actors, authors and directors on a detailed and high quality level in preparing for film shoots, at acting schools and in my own workshops. I have been able to accompany the successful development of some actors and actresses for several years now and the trust that has grown enables me to work ever more finely and freely.
Since the year 2000, I have been developing my own acting technique SourceTuning®, which allows direct access to the intuitive knowledge of the body and helps to create compact role material from it. In 2015, I published a workbook on the subject entitled “SourceTuning–Let Your Body Craft The Character”. The SourceTuning brand is now protected in Europe, America and Canada, and the book was translated into English in 2017.
A psychological study on the effect of SourceTuning on non-actors was developed and put into practice in 2018 by the psychology student and trained SourceTuning coach Janika Pyttlich and myself. The evaluation in 2019, which was also the Master thesis of Jannika Pyttlich, showed that the test persons benefited from the effect of the technique in many areas. It offers great potential in the area of personality development and therapy, which we will continue to develop and make use of.
In 2006, I worked closely with the script coach “Storydocs”on the development of material/characters in writing processes, and SourceTuning began to be used as a supplement to script constellations in this area. After a long break, I resumed my red thread as director and author in 2010 with the short film project “Berlin Angels”, which won several awards and was nominated for the German Camera Award in 2013.
Thomas BartholomäusSourceTuning Coachthomas.firstname.lastname@example.org
Thomas Bartholomäus is a trained actor and director/editor for showreels and short films. He has known SourceTuning since its beginnings in 2002. As coaches, Jens Roth and Thomas have been working together since 2011 in individual coaching for casting and filming preparation, in workshops and as on-set coaches, e.g. in 2014 for the series "Hand auf's Herz". Thomas was one of the participants in the first SourceTuning coach training in 2015, and from then on he successfully prepared many actors for their roles in film using this technique. Jens and Thomas have been working together intensively as a team at rothcoaching since 2020.
Samira Julia CalderSourceTuning Coachsamira.email@example.com
Samira Julia Calder is an actress with South African roots. During her training at the Hamburg School of Acting, she met Jens Roth, with whom she has worked intensively ever since. In addition to engagements from the State Theatre to independent productions, she has realised her own projects and productions and worked as artistic director, assistant to the artistic director, choreographer and assistant director. Since 2020, Samira has also been a trained SourceTuning coach and has supported various productions as an on-set coach or in the preparation for filming and has successfully prepared actors for auditions, theatre roles and filming.
Julia JörkeInvoicing & Book firstname.lastname@example.org
Julia is a trained goldsmith. Their goldsmiths make unique jewellery, mainly using silver, but also gold and Damascus steel. She has made a second career for herself by learning accounting. Today she undertakes office work for various people in different industries. Since 2019, she has been working for Jens Roth in this area.