Yevhenii - Movie theater tutor -
Yevhenii - Movie theater tutor -

One of our best tutors. Quality profile, experience in their field, verified qualifications and a great response time. Yevhenii will be happy to arrange your first Movie theater lesson.

Yevhenii

One of our best tutors. Quality profile, experience in their field, verified qualifications and a great response time. Yevhenii will be happy to arrange your first Movie theater lesson.

  • Rate J$3,541
  • Response 1h
  • Students

    Number of students Yevhenii has accompanied since arriving at Superprof

    50+

    Number of students Yevhenii has accompanied since arriving at Superprof

Yevhenii - Movie theater tutor -
  • 5 (18 reviews)

J$3,541/hr

Contact
  • Movie theater
  • Acting

Acting, Speech Training, Acting Coaching. From first steps and self-exploration to entrance exams, auditions, self-tapes, scene study, character development, stage and on-camera performance.

  • Movie theater
  • Acting

Lesson location

Ambassador

One of our best tutors. Quality profile, experience in their field, verified qualifications and a great response time. Yevhenii will be happy to arrange your first Movie theater lesson.

About Yevhenii

Since 2017, I have been teaching acting, stage speech, and working as an acting coach. I hold a Master’s degree from the Ivan Karpenko-Kary Kyiv National University of Theatre, Cinema and Television, where I trained as an actor and teacher of acting and stage speech (workshop of L.B. Ostropolskyi; stage speech — T.V. Kobzar). I also have experience in directing and creating interdisciplinary artistic projects.

My approach:
For me, the learning process is just as important as the final result. The way you arrive at a skill determines whether you will be able to retain it and adapt it beyond our lessons. My role is to create the conditions in which you can recognize the tools of acting within yourself, master them, and learn to consciously shape your own creative process.

The tools of acting do not exist separately from real life — they grow out of human behavior, attention, imagination, and relationships. That is why I place the individual above the mechanical mastery of techniques. In my view, acting is not an end in itself but a tool that helps you act confidently in given circumstances, build genuine connection with scene partners and audiences, and better understand yourself and others.

Another key principle of my teaching is autonomy. My goal is not only to help you solve your current challenge, but also to ensure that after our work together you can confidently analyze new material, determine your own next steps, and adapt your skills to new creative challenges.

It is important to me that every lesson is a space where you can learn without being afraid to make mistakes. Acting requires openness, and openness is only possible when people feel safe and respected. I strive to create an environment that respects personal boundaries, different life experiences, neurodiversity, genders, and gender identities. If you need a different pace, another way of working, or simply the opportunity to communicate your needs and boundaries directly, assertive communication is always welcome.

I work with people at different stages of their creative journey and with a wide range of goals, including:
• people taking their first steps in acting;
• people preparing for drama school auditions and other creative entrance exams;
• actors working on a role, preparing for auditions, or recording self-tapes;
• directors, presenters, voice artists, singers, content creators, and other professionals who want to develop their stage speech, expressiveness, and relationship with text.


What I enjoy most about teaching is the moment when someone arrives at an understanding on their own. The moment their eyes light up, and something that seemed confusing just minutes before suddenly becomes clear and immediately starts working in practice.
Every new student and every new question encourages me to look at my profession from a different perspective, search for more precise explanations, and discover new solutions. That is why, for me, teaching is an ongoing exploration of my profession through the perspectives of different people.

See more

About the lesson

  • All Levels
  • English

All languages in which the lesson is available :

English

Don’t worry if you haven’t fully formulated your goals yet. In our first session, we’ll identify what you want to develop and choose an approach that best fits your needs.
Here are some examples of the goals people come to me with, and →the techniques we can use to work on them. If you don’t see yours here, that’s okay. We’ll find a way to work with it.


— Preparing for admission to creative programmes
(Karpenko-Karyi, RADA, NYU Tisch, the Academy of Circus and Variety Arts, Franko University, Ukrainian Film School, TAI, NYFA, and others)

→ Material selection, text work, audition preparation and psychological preparation for the admission process.

In my experience, the number one priority when applying to a creative programme is self-sufficiency. Preparing your monologue properly is, of course, important. But an even more important question is: “Why am I going there?” and “What do I plan to do after I graduate?”
With this approach, the outcome of the audition — whatever it may be — doesn’t determine your future trajectory. You get in — great: you already know what brought you there, and you can assess whether this environment is right for you. You don’t get in — that’s okay too: it doesn’t define you, so we reflect on the experience and move forward.

— Preparing for auditions, competitions and self-tapes
→ Preparation and rehearsal. The logic of casting, the principles of working on camera, how to present your strengths effectively. Reviewing your videos.

Almost every audition inevitably affects your self-esteem, because you’re constantly being evaluated. You can try to pretend that it doesn’t bother you anymore, but come on — who are we trying to fool? :)
That’s why it’s important to learn how to evaluate your own work objectively and see an audition as an opportunity to gain experience rather than as a judgement of your attractiveness or worth. This way, you can actually grow instead of just collecting emotional damage.

— Working on a role, preparing a scene or monologue
→ Dramaturgical analysis, developing structural thinking. Working with inner rhythm and action. Working with a real or imagined partner. The rehearsal process, both independently and as part of a group.

There are many ways to approach a role. I usually try to start with your individual needs and the way you naturally work.
If you’re only beginning to explore acting, my job is to give you a solid foundation: essential tools and techniques, an understanding of the process, and a strong analytical approach. This will help you approach and work through other roles more independently in the future.

— Working on camera, creating video content
→ Principles of working on camera, working with an imagined partner. Content research, working with references and reviewing your own videos. Creative Forms, compositional and conceptual thinking.

Acting for the camera has some important differences from stage work — the foundation is the same, but the physicality of the process is different. Understanding these differences can improve your collaboration with other people on set and give you more opportunities to express yourself.
Creating your own video content, however, is another level altogether. It involves acting, directing, screenwriting, producing, lighting, sound, filming, editing… But there are certain elements that can make the process much easier: Idea, Concept, Structure and Process Organisation.

— Speech and voice (diction, expressiveness, vocal projection)
→ The basic trinity of speech technique: breathing, articulation and resonance. Sound production, vocal attack, vocal range. Synchronising voice and action.

Not everyone needs a voice like a news anchor or a dramatic theatre actor. Voices are different — and that’s what makes them interesting! There is no “correct” way to sound. The goal is to explore, develop and consciously use your own voice.

— Stage fright, overcoming inhibition, developing naturalness and confidence. Improvisation.
→ Preparing and mentally tuning into the work. Synchronising voice and action, working with inner rhythm. Creative Forms, developing personal agency.

In most cases, excessive fear comes from not knowing what to do. It can happen even after years of creative work. But trying to get rid of it as quickly as possible is often the wrong approach. Instead of trying to look natural, we’ll look at what exactly is preventing you from acting freely. The key is that we can channel our emotional experience in a productive direction and even turn it into an advantage. Confidence then becomes not a pose, but a consequence of understanding what you are doing.

— Returning to the profession after a break
→ Analysing your previous experience, working through mistakes. Working with your own videos and references. Creative Forms, conceptual thinking. Self-exploration and reassessing your priorities.

Returning after a break doesn’t necessarily mean starting from scratch. During that time, you may have changed — along with your circumstances, interests and professional goals. So rather than simply trying to “get back into shape”, I would first look at what from your previous experience still works, what needs to be reconsidered, and where you want to go now. From there, we can put aside the unnecessary layers and reconnect with your own sincerity: What do I actually feel? What do I want? Where am I willing to go from here?

— Finding your own creative style
→ Analysing your own work, working through mistakes. Exploring references. Expanding your outlook and developing conceptual and compositional thinking. Creative Forms.

Your own style cannot simply be chosen from a ready-made set of options. It gradually emerges from what interests you, what personally troubles or excites you, the choices you make, and why you make them. That’s why working through mistakes isn’t about identifying what is “wrong” and fixing it. It’s a way of understanding your own creative logic and seeing how it can develop. From there, you can broaden your outlook and learn to create and realise your own concepts.

— Exploring yourself through acting and developing creative thinking. Overcoming creative stagnation.
→ Self-exploration, working with imagination and conceptual thinking. Knowing, Research and Search as Creative Forms. Working with material and references.

For me, acting is one of the ways to explore not only characters, but ourselves. What attracts, scares or irritates us — or what seems impossible to us — can tell us a lot about how we see the world. Sometimes, getting out of a creative rut doesn’t require another technique. It requires a new experience, new material, or an opportunity to look at something familiar from a different angle.

— Moving towards independent and systematic creative work
→ Creative Forms as a tool for organising your own process. Concept, structure and process organisation. Analysing your own work and identifying the next steps.

My goal is not to make sure you always need a teacher. Quite the opposite: for me, a good result is when you gradually learn to understand what is happening in your own creative process, see what the next step is, and find the tools you need to work on it. At that point, lessons stop being a constant necessity and become a resource you can turn to when you actually need one.

See more

Rates

Rate

  • J$3,541

Pack prices

  • 5h: J$17,703
  • 10h: J$35,405

online

  • J$3,541/h

Find out more about Yevhenii

Find out more about Yevhenii

  • Коли ви почали цікавитись цим предметом та викладанням?

    Один з перших моїх великих досвідів викдадання був в Одесі, коли я викладав акторську майстерність у модельній школі. Це загалом була цікава пригода - приїхав на декілька днів на відпочинок і залишився працювати на літо :)
  • Які переваги вивчення предмета, який ви викладаєте? Яким темам ви приділяєте окрему увагу?

    Акторська майстерність та Риторика повторюють за нашим життям, як літак повторює за пташкою. Крім цікавої творчоі роботи, це також і велике особистісне дослідження. Можливість дізнатися більше про себе.

    Особливу увагу я зазвичай приділяю вмінню самостійно аналізувати та направляти свою роботу.
  • Хто (або що) надихнув вас присвятити свій час цій дисципліні та її викладанню?

    Для мене це був перший свідомий контакт із процесом створення. Це особливе відчуття підчас занять чи репетицій, яке хочеться повторювати.

    А у викладанні немає нічого більш надихаючого, ніж бачити розуміння та прогрес учнів та учениць. В такі моменти стараєшся не видати своє захоплення, щоб не відволікти ним людину від роботи :)
  • Які якості, на вашу думку, необхідні, щоб бути хорошим експертом у своїй галузі?

    Адаптивність, відкритість до нового. Без цих якостей неможливо буде залишатися експертом у постійно мінливому світі. А також вміння систематизувати свою діяльність, без чого складно утримуватись на рівні у довгостроковій перспективі.
  • Згадайте кумедну ситуацію, яка трапилась з вами під час викладання або навчання.

    Це сталося нещодавно.

    Напочатку роботи я домовляюся з клієнтами/ками про відміну чи перенесення занять - якщо менше ніж за 24 години та без поважної причини, чи систематично, то я прошу відшкодувати половиною вартості заняття.

    Так от, пише мені клієнтка в день заняття, що вона не зможе сьогодні та питає скільки вона має заплатити. Я спитав у чому причина: - З мене кухар поганий,- каже вона, - Трохи ніж на ногу впав…

    Відповідальність це звісно чудово, але як на мене це достатньо поважна причина :)
  • Чи стикались ви з труднощами під час навчання? Як ви з ними справилися?

    В мене був досить складний початок навчання. В театральному університеті екзамени з профільних предметів проходять у вигляді показів з глядачами (кафедрою та іншими студентами). Так вийшло, що в кінці першого курсу мене усунули від 2/3 всього показу-екзамену з акторської майстерності - найпрофільнішого з усіх профільних предметів :) Проте, це дало мені можливість побачити зі сторони те, як працюють інші та що зауваження від викладачів насправді допомагають, якщо до них прислухатися.
  • Розкажіть про свої захоплення. Що змушує ваше серце битися швидше?

    Для мене це музика та спів. Не уявляю свого життя без них!
  • Що робить вас Super-репетитором (крім цього інтерв'ю, звичайно :-P)?

    Те, що я отримую від цієї роботи задоволення. Ніякі мої професійні навички, чи досвід цього не замінять :)
--
--

Similar Movie theater teachers in

  • Cristiano

    Roma, Italy & Online

    5 (18 reviews)
    • J$9,187/hr
    • 1st lesson free
  • Olivier

    Gennevilliers, France & Online

    5 (23 reviews)
    • J$10,106/hr
  • Andrea

    Los Angeles, United States & Online

    5 (12 reviews)
    • J$19,784/hr
  • Gary

    London, United Kingdom & Online

    5 (29 reviews)
    • J$12,821/hr
    • 1st lesson free
  • Georgia

    Paris 15e, France & Online

    5 (10 reviews)
    • J$9,187/hr
    • 1st lesson free
  • Daniel

    London, United Kingdom & Online

    5 (13 reviews)
    • J$8,974/hr
    • 1st lesson free
  • Rick

    Berlin, Germany & Online

    5 (38 reviews)
    • J$10,841/hr
  • Gabrielle

    Plainville, United States & Online

    5 (8 reviews)
    • J$7,597/hr
    • 1st lesson free
  • Antoine

    Auderghem, Wallonia & Online

    5 (21 reviews)
    • J$9,187/hr
    • 1st lesson free
  • Santiago

    Almagro, Argentina & Online

    5 (19 reviews)
    • J$3,667/hr
    • 1st lesson free
  • Natalia

    Orlando, United States & Online

    5 (5 reviews)
    • J$11,079/hr
    • 1st lesson free
  • Marina

    Stuttgart, Germany & Online

    5 (21 reviews)
    • J$10,106/hr
    • 1st lesson free
  • Neil

    London, United Kingdom & Online

    5 (13 reviews)
    • J$16,881/hr
  • Olivier

    Fontenay-aux-Roses, France & Online

    5 (17 reviews)
    • J$7,166/hr
  • Sara

    Milano, Italy & Online

    5 (61 reviews)
    • J$10,106/hr
    • 1st lesson free
  • Yana

    New York, United States & Online

    5 (13 reviews)
    • J$10,288/hr
  • Miles

    Sanger, United States & Online

    5 (11 reviews)
    • J$7,914/hr
    • 1st lesson free
  • Dan

    Versailles, France & Online

    5 (8 reviews)
    • J$9,187/hr
    • 1st lesson free
  • Manuel

    Roma, Italy & Online

    5 (18 reviews)
    • J$7,350/hr
    • 1st lesson free
  • Julian

    Seer Green, United Kingdom & Online

    5 (10 reviews)
    • J$5,342/hr
    • 1st lesson free
  • See Movie theater tutors