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Nadia Tass (born Tassopoulou or Tassopoulos; ), is an Australian theatre and film director and film producer. She mostly makes films with her writer-producer husband David Parker, through their production company Cascade Films. Tass is known for the films ''Malcolm'' (1986) and '' The Big Steal'' (1990), as well as an extensive body of work in the theatre, both in Australia and internationally. Early life and education Nadia Tassopoulou (or Tassopoulos) was born in the village of Lofoi, near Florina, in Macedonia, northern Greece. Aged eight, she moved with her parents to Melbourne, Australia, in 1966. Her original surname is Tassopoulos. She has some Russian heritage. She had her first acting role aged 14, in the police drama series ''Division 4''. Tass studied psychology at the University of Melbourne, and while there became interested in theatre, including works by students at the Victorian College of the Arts (VCA). After doing some theatre directing, she went to film ...
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Lofoi
Lofoi (, before 1928: Ζαπύρδανη – ''Zapyrdani''; Bulgarian: Забърдени; Macedonian: Забрдени, ''Zabrdeni'') is a village in the Florina regional unit, Western Macedonia, Greece, located 15 km east of the city of Florina. History First mentioned in an Ottoman defter of 1481, the village, then known as ''Zabrdani'', had eighty households and produced vines, walnuts, and honey. In Ottoman tax registers of the non-Muslim population of the wilayah Filorine from 1626–1627, the village is marked under the name ''Zaburdani'' with 62 households. The population of the village was affiliated with the Bulgarian Exarchate church in the early 20th century. According to Dimitar Mishev, the secretary of the Exarchate, there were 344 Bulgarians in Zabrdani in 1905 and there was a Bulgarian school that functioned in the village.D.M.Brancoff. "La Macédoine et sa Population Chrétienne". Paris, 1905, p.176-177. The village was incorporated into Greece in 1 ...
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Stanislavski Method
Stanislavski's system is a systematic approach to training actors that the Russian theatre practitioner Konstantin Stanislavski developed in the first half of the twentieth century. His system cultivates what he calls the "art of experiencing" (with which he contrasts the "art of representation").Benedetti (1999a, 201), Carnicke (2000, 17), and Stanislavski (1938, 16—36 "art of representation" corresponds to Mikhail Shchepkin's "actor of reason" and his "art of experiencing" corresponds to Shchepkin's "actor of feeling"; see Benedetti (1999a, 202). It mobilises the actor's conscious thought and will in order to activate other, less-controllable psychological processes—such as emotional experience and subconscious behaviour—sympathetically and indirectly. In rehearsal, the actor searches for inner motives to justify action and the definition of what the character seeks to achieve at any given moment (a "task"). Later, Stanislavski further elaborated what he called 'the Syst ...
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