Tiffany Rothman describes the script analysis: Actor’s Feeding Tube.

Jacksonville, FL -- (SBWIRE) -- 09/10/2014 -- Tiffany Rothman starts off by stating: "When asked how important it is to thoroughly analyze the script , my wonderful and talented acting coach, the actress Lenore Harris , would reply: " Script analysis is the revelatory journey into a time capsule of a playwright, a period and its socio-political history/milieu. Your analysis and research must dig deep to gain insight into the writer`s vision and how the play`s particular culture operates, manipulates affects and triggers people`s actions, lives and relationships in the script."

For example: A man and a woman have been together all day and up all night, they made love, and he says at the crack of dawn, " The sun is coming up". He means it literally. He talked through the night into the morning. Playing the woman in the scene, the actress`s analysis of the text could lead to her choice of a decision to trust this man who has spent all day and night working to convince her of his love. Literally the sun is really coming up and the man is the first to say the line, seeing day break.

The actress repeating the line, reveals it with her own complexities. She isn`t saying it literally. None of this is stated but reveals in the analysis. The life time discipline that your talent is being fed by investigation, imagination, curiosity--specifics of the past, present and future. The script was your world of every imaginable relationship and conceivable situation. The script is the playwright`s vision, version and expose. It can be understood by the characters that exist in the play or not. But you, the actor must understand the truth behind the words, as previously disclosed."

Lenore also added that in her training with the late master teacher, Paul Mann, "the analysis and research of the script is executed by a powerful connection to the sense, released by vivid belief, graphic images and uncensored subtext of the script. The limitlessness of your imagination stimulates you in ways that are highly physical, non-physical, sensual and always truthful. The analysis brings out your unique talent in service to the script and to your audience".

In addition, as an Isadora Duncan International Institute dancer, I have always felt that Duncan `s materials are the core for performances. Dr. Jeanne Bresciani, my incredible dance teacher, has indicated: "The parallel of script in theater to choreography in dance is most valid. There are plays with splendid language that are not viable for performances and should be relinquished to silent reading. Likewise , there are dances that contain movements exemplary of technique and physical coordination and condition that are not suited for the stage.

In both cases, they are closer for studies or preparations for the enactment of art but are not the culminating moment itself. They are often works that have spent too long in the classroom of creation or are stunning aspects on one point of focus alone. James Joyce, as an early Modern giant, in his call for beauty is still today not far afield from the requisites for great theater or dance genre - and they are many. He called for the necessity of wholeness, harmony and radiance for the evocation of art - be it in dance, theater or letters.

The script or choreography needs to provide a blueprint to connect the agent on stage to an interior voice and body, make a coherent synthesis of the parts involved in the making and have the capacity to beam the essence of the work forth to something or someone outside - be they odious or intoxicating- in order to fall within the parameters of art worthy of witness."

Tiffany Rothman
tiffanyrothman@gmail.com
917-318-6041

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

In her own words, Tiffany Rothman describes how to build a character and be a successful actress.

Jacksonville, FL -- (SBWIRE) -- 09/10/2014 -- Tiffany Rothman, a popular stage actress starts out by stating: "When a performer tries to build a character for a play or film or even in dance choreography, a full story has to be created for the character. This means that a background needs to be provided for the character - her story, likes, dislikes and how the character views herself and her environment. The more details the better in term of learning more about the character."

She moves forward further explaining her point "There are times when the character of one play can carry over into the actor's next performance. For example, once I was in a play called: "Flowers: A Thorny Romance." This play was about domestic violence and I had one of the principal roles. My character was a housewife from another country and had been abused after being in a marriage. I ended up as a widow after 15 years of being childless. The implication was that I had purposely poisoned my husband by giving him two cups of contaminated tea. I was told that I was a black widow."

After the play, " Flowers: A Thorny Romance", Tiffany Rothman was cast in a feature film called, "Finding Home." In that film,she was a single mother with a daughter. Her character has a bitter and hostile attitude toward most of her neighbors. In "Finding Home," her character wanted justice for those who had been mistreated by their family members and would use unorthodox methods to shield them from getting hurt.

She felt that the film "Finding Home" was a continuation of her role in "Flowers: A Thorny Romance." Most of the history of the character in the second work could have been taken from the "Flowers" role. The reason the "Finding Home" character became hostile and bitter was because she was experiencing discrimination by her neighbors as well as being abused by her husband. Then after the husband died, she discovered that she was pregnant with a daughter. In addition, during the shooting of the second work, cast mates referred to me as "the one who most likely buried her husband somewhere in the yard nearby." This made the process of filming "Finding Home" easier because of the previous experience with "Flowers."

Tiffany Rothman states: "Overall, my most fortunate experience as a performer has been to be able to study with the actress Lenore Harris (who was trained by Paul Mann) and to study with Dr. Jeanne Bresciani of Isadora Duncan International Institute. Their brilliant teaching skills are highly comforting as well as nurturing which allowed me to develop in various directions."

An additional value of the support of these mentors is to help one to better deal with the sometimes harsh comments from critics.

Tiffany Rothman started to audition seven years ago. Five years ago, when she earned a role n "Romeo and Juliet" with Teatro Latea, she invited the critic John Simon to attend a performance. In the email, she also mentioned that she expected him to be no less than his usual self since he is well known for upsetting/intimidating performers. John Simon emailed me back and kindly turned down the invitation since the type of obscure production she was in was not within his purview. She was also told not to invite him to my other play "The Fourth State of Matter" because the play's author might develop a block after reading Simon`s review.

However, she had always wanted Simon to come to one of my plays. Most performers and industrial professionals would be surprised and wonder why! Her response would be that she would welcome the insights, however harsh, of a critic who is highly knowledgeable, cultivated and who applies high aesthetic standards to his assessments.

She would have tried to treat the criticisms as guidelines for improving my craft. Being a performer is no different than being a servant who tries to share her sensibility with the viewer. If there is sufficient growth, the actor`s craft can, at its best, reach the level of art.

Tiffany Rothman
tiffanyrothman@gmail.com
(917) 318-6041

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

These are stage actress, Tiffany Rothman’s own words on Farce (a type of comedy).

Jacksonville, FL -- (SBWIRE) -- 09/10/2014 -- Tiffany Rothman, a popular stage actress set some time to put a meaning to the word "farce." Here's what Mrs. Rothman said …

Farce is one type of comedy and, in some respects, it resembles an efficiently operating machine in which the various parts work in well timed coordination. Often, farce begins with a premise that is not believable; everything else that subsequently occurs flows from that premise with an almost mathematical logic.

According to Ask.com, Farces are believed to have originated in the 15th century in France, and it was first used to describe acrobatics as well as caricature as a form of entertainment.

In the article The Early Career of Farce in the Theatrical Vocabulary by Leo Hughes ( 07-08-1940) (Extract from PC I Full Test, published by Pro Quest Information and Learning Company), the word Farce is derived from Latin, Farcise, meaning to stuff or fill. The word appears to have been used by the British in the context of cooking. Cookbooks in the medieval and renaissance period speak farcing a goose, a turkey and a pie.

However, farce was not for long confined to the kitchen.

Farce was adopted into the stage vocabulary after Restoration. It was used to describe a confusing array of things with great abandon.

In addition, farce, by the end of the Restoration, was used to describe almost any kind of stage performance which does not meet with the approval of the devotees or supporters of literary drama.

Subtle underacting, so often a virtue is not suitable to farce. In farce, the actor must be daring enough to risk the pitfalls of overacting.

Some notable film farces are:

1) The Awful Truth (1937)
2) The Lady Eve (1941)
3) Arsenic and Old Lace (1944)
4) Some Like It Hot (1959)
5) A Fish Called Wanda (1985)
6) Noises Off (1992)

According to Wikipedia, a farce in theatre is a comedy that aims at entertaining the audience through situations that are highly exaggerated, extravagant and thus improbable.

About The Awful Truth
In The Awful Truth, the Irene Dunne character pretends to be her husband`s sister, acting outrageously to shock the relatives of her husband`s prospective fiancee, in order to win back her husband`s love.

In the The Lady Eve, the Barbara Stanwyck character is caught being a gambling conman; without any attempt to disguise her appearance, she re-emerges in the male protagonist`s life, pretending to be an English aristocrat.

In Arsenic and Old Lace, we are asked to believe that two sweet spinster aunts are serial killers who bury their victims in the basement of their Brooklyn Heights home.

Jack Lemmon and Tony Curtis are in drag in Some Like It Hot. They travel from Chicago to Miami Beach by train with an all women musical band without being detected.

Both "A Fish Called Wanda" and "Noise Off" employ the mechanisms of classic theatrical farce_ characters becoming embroiled in situations that need to be hidden from other characters; doors opening and closing with pinpoint precision as characters just barely avoid being found out by others characters.

Tiffany Rothman
tiffanyrothman@gmail.com
917-318-6041

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Stage actress Tiffany Rothman recently conducted an interview with PopGoestheWeek.com.

Jacksonville, FL -- (SBWIRE) -- 09/10/2014 -- Stage actress Tiffany Rothman recently joined in on an interview with PopGoestheWeek.com. In the interview, Tiffany Rothman tells us what it is like to be an actress before receiving an awards at the Golden Globes. Below is the full interview with Tiffany Rothman.

You're more in acting for the sake of acting, versus the glamour. How can you love a profession that doesn't pay anyone well until you "make it?"

My coach, Lenore Harris, once told me that the great Italian actress Anna Magnani said "All actresses are a little mad. You have to be! It's a strange fire which burns constantly and dominates you completely." I feel that the process of transforming oneself into a completely different character is wonderfully stimulating. For example, once I portrayed a character who was a madam, who had earlier been sold into prostitution as a young teenager. These sordid background circumstances were initially repellent ; but ,the actor, in the process of developing the character, must immerse herself into these circumstances in order to become the person she is portraying. This process can in turn lead to emotional, spiritual and intellectual growth in the actor.

Last but not least, Lenore also told me: "When you have a dream, a desire, a goal that is really meant to be, it gives your soul a sense that it is doing what it was meant to do. You feel "placed" on the Earth. Your reasons of choice may have psychological reasons behind them that have influenced you, that you may not even realize until later but the thing is you have found your "path" in who you are and what you want to contribute to the world. And "glamour" as you say is exciting but those are not what makes you devote your being to the acting profession."

How much of acting is facial expressions, and how much is sound?

Facial expressiveness is completely necessary for all acting. This is used to show all kinds of emotions as well as predicting the outcome of a situation. Facial expressions reveal the feelings and the thinking process of an actor. Mime movements are non- verbal;, therefore, facial as well as bodily movements must carry out the story line. Sound is extremely important. One of my greatest challenges with acting is to learn to eliminate my accent and to have better diction. I am fortunate enough to have Lenore Harris as my acting coach. An actor needs to appropriately project her voice.

When you rehearse and perform a stage play, is every performance different?

Broadly, all performances are similar; the details vary from one performance to another.

Do you ever read plays and scripts for fun? Do you have recommendations?

I do read plays and scripts outside of work. I would recommend that if a person finds it too challenging to read classics (i.e., Shakespeare) ,one should read contemporary plays such as those of Tennessee Williams, William Inge, Arthur Miller and original plays by local writers. If one's time for leisure reading is limited due to work/educational commitments, an alternative is to read brief one act plays. Since plays tend to be published in small light weight paperback books, they are quite portable (as are, of course, e-readers). For those who commute via public transportation, reading can be done during traveling time. There are many wonderful writers who are available for reading; the list of recommendations is endless.

What is a good solo way to practice acting for a totally broke person who doesn't want to or cannot afford take lessons?

If an actor refuses to take lessons, she is cheating herself. If an actor is totally broke, I would recommend her to get a job and save up money so that eventually she could afford to pay for lessons. In the meantime, the actor should read a lot of plays, perhaps try to become an usher so she can see free productions, volunteer to be a production assistant so she can learn more about theater or films and see tv shows and great movies including art films such as those directed by Ingmar Bergman and Michelangelo Antonioni. The actor must study plays, scripts, see theater and films. Films can be viewed over and over again on DVDs, You Tube and videos without incurring any significant expenses.

I'm sort of in fear of sounding depressing, but I have to ask, what is the secret of why most talented actors are unsuccessful? And why someone who is no big deal is an overnight sensation?

"Overnight sensations" are largely a myth in the acting field; the term refers to those who gain notoriety from a particular role. However, in most instances, the actor has been working for a while without achieving public notice. Acting is a business and like every other business it involves the marketing of a product. In this case, the product is the actor. Most actors who have achieved success have gone through an earlier stage when they worked in obscurity.

Acting, at one level, needs to be regarded as a business because possessing talent is only one small aspect of what may culminate in success. The actor needs to market herself and be able to work well with others and to be realistic about choices that have to be made. Those who do achieve success often tend to have a strong support system such as parents/relatives who are willing to invest time, effort and money in furthering the actor's career. Take the example of a medical doctor. The more successful ones that I know tend to have attended very good schools. One of my doctors (a dermatologist) told me that he had attended an elementary school and a high school that were both quite rigorous. Because this was all he experienced, he had become accustomed to being required to satisfy high standards and thought that this was normal. Then , when he went to college and medical school, he claimed that he had an easier time than most of his peers. He was able to enter the field of dermatology because of his academic success. Another dermatologist told me that she received a master degree in medicine in England and that helped her to achieve her position. Of course, their parents thoroughly supported their education.

What are your next goals as an actress?

I will keep on studying acting with my wonderful coach Lenore Harris and will continue to acquire additional skills through belly dance training and movement in drama from Isadora Duncan International Institute. I will also try to market myself and to continue acting in the theater productions. In addition, I am doing my doctorate in counseling psychology. My thesis is based on a play that I was in called "Flowers : A Thorny Romance". It is about domestic violence. I will be trained as a volunteer for a domestic shelter . Hopefully, I can provide some healing to others.

About Tiffany Rothman
Tiffany Rothman was born in Hue, Vietnam and grew up in Saigon until she migrated to the United States in 1975. She eventually moved to New York and acquired an MBA in Human Resource Management. Afterwards, she gained her masters degree in educational psychology. When her daughter was in first grade, she decided to go back to her acting career. By being able to perform in dance, film or theatre and being with her loved ones, she feels as if she truly has achieved the American dream.

Tiffany Rothman
tiffanyrothman@gmail.com
(917) 318-6041

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Tiffany Rothman stars in the movie titled “Finding Home.” Her character is focused on saving her next door neighbor.

Jacksonville, FL -- (SBWIRE) -- 09/10/2014 -- The movie titled "Finding Home" takes place in an an ordinary looking building, somewhere in New York City, where a group of tenants from completely different cultures and backgrounds are staying. They also have different beliefs and characteristics. They appear to interact with one another in an aloof manner and without a care in the world. Most of the time, they seem cold to others.

That is, until one incident happened that forced them to come together as one. Their goal was to save a young lady. Each had a different approach. While their manners were unorthodox, the love and compassion demonstrated was embodied the essence of the family's life.

This film deals with a young lady who lives with her invalid father, her stepmother and her stepmother's two daughters, who are younger than she is.

Her next door neighbor is a woman, marital status unknown, who lives with her young adult daughter. Across the hall, is a married couple and the female half of the couple is a fashionista. She loves to dress up in her own style that is completely different from the rest of the world. On an upper floor is another woman, who maybe an entertainer of some kind.

The biological mother of the young lady referred to at the beginning, died at an early age. Her father appears to have shut down afterward although he appears to have a new wife who has children of her own but he seems to be in another world. The young lady is mostly alone. Her father only gazed into her eyes when she is around him and throws her kisses.

Tiffany Rothman's character is the next door neighbor whose marital status is unknown with a young adult daughter who translates for her when she does not feel like speaking English - which is most of the time. Her attitude is that if they don't learn to accept her and learn her language she does not have to go out of her way to please them. However, she likes the young lady who lives next door to her. She is very lovely. She seems to adore her invalid father. They have some kind of connection that not too many people would have with each other. She is the true love product that he created with his late wife, his one and only love.

No one could understand why he is living with this woman and her two kids. There is no spark there for him or for his daughter. This woman may be physically stunning for her age but she is up to no good. Since Mrs. Rothman's character is a home maker and her daughter is a young adult, she is able to have the time to notice my surroundings. She would sweep the hallway every morning as her routine and she witnesses things in the building.

Her character has to figure out what to do in order to save the guy. Her main goal is to save him and do whatever it takes to keep his daughter and him together. Because , at the end , they only have each other. The bonding of a parent and a child is paramount, with undying and unconditional love for one another.

How she should go about saving him is another story. She's got to come up with an original plan that's extraordinary to the situation. First, she has to watch that drop- dead gorgeous secondary wife of his. Every move she makes, she's got to be on top of it.

About Tiffany Rothman
Tiffany Rothman was born in Hue, Vietnam and grew up in Saigon until she migrated to the United States in 1975. She eventually moved to New York and acquired an MBA in Human Resource Management. Afterwards, she gained her masters degree in educational psychology. When her daughter was in first grade, she decided to go back to her acting career. By being able to perform in dance, film or theatre and being with her loved ones, she feels as if she truly has achieved the American dream.

Tiffany Rothman
tiffanyrothman@gmail.com
(917) 318-6041

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm