Biography
I was born in the theater town of Meiningen in present-day Thuringia, then part of the GDR. I graduated from high school in 1995 in the same town, but in the new state.
I studied social work in Erfurt from 1996 to 2001, where, in my focus on cultural management , I learned how to turn my ideas into reality. In my other focus, theater education, I learned to understand the fascinating effect of acting on interpersonal relationships.
In addition to my first permanent positions as head of an integration project and co-director of the Cairo Youth Culture Center , I was able to train as an improvisational theater actress worldwide and devote myself to my passion for the stage and my passion as a trainer .
Since 2014, I have been working full-time as a trainer, actress, and presenter.
Nadine Antler has been involved with improvisation since 1998. She co-founded and was the Artistic Director of the improvisation ensemble „Der Kaktus“ in Wuerzburg, Germany before she moved to Hamburg to work with the company „Steife Brise“. Nadine has taught many workshops for actors, social workers, teachers, students and business people. She has been a guest lecturer on improvisation and theatre pedagogics at the University of Wuerzburg. Nowadays she has a strong focus on training improvisers and improvisation ensembles around the world. Nadine has performed and taught in South and North America as well as Australia, Africa and The Middle East and regularly performs at various improvisation festivals around Europe. Today, Nadine lives in the countryside, in Hausen am Hohen Meißner in Hessen. She enjoys the seclusion and peace to found a school for improvisation and acting – the NOWHERE Academy – with Hendrik Martz and to focus on her current favourite stage project: SCHWESTERN IN DER ÜBERZAHL with Lena Försch.
More information: nadineantler.de
Nadine’s Workshops
BETWEEN THE LINES – workshop to show “Waking Up” (6 hours)
On Emotional Listening
When we observe people on the street, on the bus, in waiting rooms, we often know intuitively what their relationship is like, whether there is an argument in the air, whether there is the greatest familiarity or whether the person sitting in front of us has just fallen in love. In most cases, we don’t even need to understand what words are being exchanged. We are masters at reading between the lines.
But how is it that this ability often evaporates on stage? We create artificial situations, miss important body language and vocal cues, and often intellectually invent a story that we hesitantly agree upon.
This workshop is about learning and trying out techniques to get out of the head and into the emotional relationship, from producing to reacting, from the “good idea“ to the authentic emotional response. This workshop is training to hear the unsaid, to be with yourself and with your partner and to create true relationships on stage. With truthful listening and authentic re-acting the scenes unfold effortlessly in front of us.
LIVE DIRECTING & SIDE COACHING (6 hours)
Many improv formats are based on live direction, where someone from outside intervenes in the action on stage. The goals: To guide the story, protect inspiration, take the pressure off the actors, allow variety. Side coaching is also helpful in many shows, regardless of the format. But how do I find inspiration for my scene? What do I reveal in advance when I present my idea? How much do I intervene so as not to stifle the improv players and give them room to play? How do I formulate so that I inspire my colleagues instead of overthinking them? In this workshop, there will be many opportunities to try all of this out, but above all to try out how to take responsibility without retaining complete control. After all, we improvise together. This workshop is for experienced improvisers.
IT IS NOT JUST A DOG… IT’S A PITBULL (3 hours)
Specifity makes or breaks a scene. And most importantly: It inspires a story without us planning ahead. The uniqueness of stories lies in the details, which in turn form the basis for unique obstacles, unexpected characters and story-turns that you didn't see coming. While novels and screenplays are written from the end to the beginning, in improvised theatre it is important to add details in moments, when they are seemingly irrelevant.
Alpha and Omega (3 hours)
Nothing stays in the audience's memory as much as the beginning and end of a scene, a play, or a theatre evening. So this is where we should place our special focus. But what makes a good opening that will inspire the scene? And how do I build a strong ending that will be remembered? And how are the two connected?
Nadine Antler guides her workshop participants in working on the alpha and omega with enthusiasm and clarity, thereby improving their scene work and storytelling in general. Topics include staying calm under stress, attention to detail, and maintaining your own inspiration and that of your fellow actors.
BE HONEST! (3 hours)
Since our very first improv training session, we've been told: Say YES and make your partner look good! But what if my partner has just come up with the most stupid and uninspired idea ever? What if I can no longer follow the story, but I happen to be the main character in it? What if the message of our scene runs counter to all my convictions or I am ashamed of myself?
In this workshop, we will look at our perceptions, at being obvious and honest with ourselves and our fellow actors. We will discover how great comedy and believable stories simply arise from honest reactions. And by the way, this uncompromising honesty gives our work an authenticity that is fascinating.
