Mihaela Mihut , U.S.A. New York
Mihaela Mihut received her ba from the academy of theater and filmin Bucharest, Romania in 1994. There she played may in Sam Shepard’s “Fool for Love”, Carol in Tennessee William’s “Orpheus Descending”, Eugene in “A Flea in the Ear”, Mr.s Martin in Eugene Ionesco’s “The Bold Soprano” (For which she was awarded best new actress).She received her MFA from the Actors Studio Drama School Programin NYC in 2000. In 2002 Mihaela Mihut was accepted as a lifetime member of the Actors Studio, where she has worked on rolesas varia in “The cherry Orchard” with Ellen Burstyn, Popova in “The Bear”, Anka in “Hunting Cockrached”, Anna Petrova in “Platonov”. Off-Broadway roles include Inezin “No Exit”, multiple characters in “Art People” at the players Theatre, Cristina in “Manipulation” at the Cherry Lane Theatre and Sheena in “Off The King’s Road” at the theatre of the New City (NY Times Review). Mihaela Mihut: Films “Ben Again”, “Subterranean Love”, “Perkins 14”, “Carmen” & “Selfie69”.She teaches acting at the school of visual arts, the main street Theatre, and Privately in NYC and Internationally.
Actors at Work
We hope you will see the potential of this amazing journey and share in our celebration and in the process challenge a worldwide audience to recognize and connect with its own humanity. From Stanislavski to Strasberg…to you, this innovative workshop focuses on the artist’s personal journey. The artist’s instrument refers to the whole self, body and mind and all of the five senses, complete with emotions, thoughts, imagination, sensitivity, honesty, passion and awareness. You work towards recognizing the analogy between your personal history and the character you are developing. It is a path of discovery to guide you as an artist, the actor, director and writer towards developing an inner technique that works individually in a professional collaborative way. In order for a script to be realized and the director's vision to be satisfied, the actor’s work process must be understood and a common language needs to exist between the collaborators, the filmmaker, director and actor. Without that common language, a gap will exist no matter how great the script is or how fantastic the director. Obtaining from actors their most amazing work is possible only if their process is understood in detail. When the directors and actors navigate together in a specific way, a delicate dance begins challenging one another to deliver their best work and to bring balance, energy and uniqueness to the project as the final result. Only then artistry can develop. Specificity is universal.