Evdokimos Tsolakidis. Greece
He was born in Thessaloniki in 1962.
He graduated from the high school of Ambelokipi in Thessaloniki.
He studied at the Medical School of the University of Rome. He was awarded the diploma of the Drama School of Northern Greece with honours.
He continued his studies in drama, acting and directing in New York City (H.B. Studio, Actor’s Studio) funded by the U.S.A. Government (Fulbright Foundation).
He is in his fourth year of studies at the Greek Open University (Humanities Section, European Culture).
He has worked as an actor in many troupes, including the State Theatre of Northern Greece, the National Theatre of Greece, the Spyros Evangelatos Auditorium, the Regional Theatre of Crete and Thrace, the troupes Karezi-Kazakos, Aliki Vougiouklaki, George Kimoulis e.t.c. He took part in film and television productions and directed plays in Greece and abroad.
He is the founder and the Artistic Director of Theatre of Changes (http://www.toc.gr, founded in 1998) where he directs plays and teaches to this day. Theatre of Changes hosts each year about a thousand of students being taught by actors, directors and other artists.
At the same time, Evdokimos Tsolakidis teaches systematically in Rome (International Acting School, Cinecitta) and in London (Caravanserai Productions) as well as in Stockholm (Kulturama), in Istanbul ( Müjdat Gezen Art Academy, SAKM), in Tbilisi (Marjansvilli Theatre), in New York City (Theaterlab), in Paris (Ecole de Théatre de Paris), in Amsterdam (Easylaughs group), in Kathmandu (Dabali Theater).
He has participated at International Theatre Festivals (Romania, Iran, Switzerland and Mexico) and has taught at the Theatre Department of the Universities of Alexandria in Egypt, Tehran in Iran, Ciudad del Carmen in Mexico. He was chairman of the jury of the International Theatre Festival in Agadir (Morocco 2007).
Every year since 2005, he organizes ''In.FoMa.T.''(International Festival of Making Theatre), an international meeting of theatre makers from around the world.
He has published the following books: “Acting without teacher” by KOAN editions and the plays ''Athens - Moscow'' and ''Nothing'' by Dodoni editions.
''Athens - Moscow'' has been translated into Iranian by Sakineh Arabnejad, and published by Afraz editions and was staged in Tehran, directed by Katayun Feiz-Marandi. Both plays have been staged in Zurich, directed by Anna Tsixli. “Nothing” has been translated in Turkish by Kemal Basar and published along with the Theater magazine “Yeni Tiyatro” in March 2010.
In April 2010 he was elected member of the board of the Greek Centre of the International Theater Institute.
He speaks English, Italian and French.
He has travelled to almost all the length and breadth of the planet and in the summer of 2008, he made the round of the world in a month, leaving to the east and returning from the west!
Find Your Own Personal Method
This workshop focuses on the application of basic acting exercises that are designed to rid the actor of self-consciousness.
Acting exercises to uncover and discover the self, explore and nurture one's individuality, and gain a groundwork of acting tools and craft.
Exercises designed for the actor to give him/her control and allow him/her to work correctly with ease and assurance so as to recreate human behaviour, and to impart a system that gives the actor verbal, physical and emotional freedom.
Emphasis on relaxation, sensory awareness, emotional resources, imaginative creativity, and belief in the given circumstances. The goal: learning to use the self fully to achieve truthful moment-to-moment behaviour.
The students are guided to find their own truth when exploring the circumstances of the text and the character they are playing. By using their own experience and imagination they will be led to make specific choices, bringing them to a fully responsive and active life working on stage or in film.
Specifically geared for actors who want to improve their acting choices and learn how to structure an acting improvisation. How to improvise on a given situation, how to justify text, how to extend a text or suggestion into improvisation, what to look for in the scene. Improvisations will concentrate on the following: listening, imaging, relationships, moments of discovery, confrontation and conflict, subtext, unusual circumstances, fantasy and special problems facing the actor in the context of the play or film text.
Participants are asked to learn by heart 5-6 lines from a monologue they choose and to wear loose comfortable clothing.