Gia is Featured in THE THEATRE TIMES

March 21st, 2018

This thing happened, and I am honored and humbled and very happy to share it with all of you…

Adventures in California

November 1st, 2015

OPERA in Los Angeles & OTOA in Santa Barbara

The last six weeks have been a whirlwind. After rehearsals in Queens in September Beth Morrison Projects transported the entire cast, design and production team, to LA Opera’s REDCAT Theater, in Los Angeles, CA. for of the remount of the multi-media, experimental opera, Song From the Uproar, composed by Missy Mazzoli.

LA Opera House, LA, CA. Designed by Frank Gehry

We were welcomed by a remarkable producing organization, and enjoyed four successful shows (see PRESS QUOTES below), and, if I may say so myself, the REDCAT production of Song From The Uproar (SFTU) was beautiful.

REDCAT Theater, LA – Part of the Frank Gehry building, See Photos Above

With a chance to remount SFTU, came the rare opportunity to further enrich it.We were able to refine areas of the music, libretto and choreography/staging, that we had simply not had time to do the first go round at The Kitchen in NYC, in 2012, and also to use the 20/20 vision that comes with hindsight to make alterations, incorporate feedback and strengthen first choices.

Song From the Uproar Tech Rehearsals

Over all, the entire SFTU team worked to the brink of collapse (crew, designers, performers, producers, and myself included). Although we may all have been sleep-deprived by the time we opened, the pay off was BIG, big, beautiful, magical and transporting.

On opening night, while many went out to a chic steam punk nightclub to celebrate, and while others went to a local karaoke bar until the wee hours, I could NOT have been any happier than I was to crawl into my hotel bed and lay my heavy head on that pillow!!!

The marquee at night outside REDCAT


We received some standing ovations and heartfelt words of appreciation from the audiences, and some very nice words of praise from LA critics:

“Spellbinding… a joy to experience”
Opera Today
[Read the full review Here]

“A treat… I can imagine no better way to be introduced to the LA Opera than by this show…”

“The choreography [by Gia Forakis] was stunning…”

“I cannot rave about this opera enough.”

New Classic LA
[Read the full review Here]

Song From the Uproar Costume & Makeup


One significant difference I noted between this production and the 2012 production was that in 2012 we premiered the opera at The Kitchen in NYC, a venue and producing organization known for its hybrid projects; productions that do not come under a singular performance label or genre.  Where as this time, in Los Angeles, SFTU was produced and advertised through LA Opera, which of course attracts its opera-going public.

Although REDCAT is well known as a venue for groundbreaking productions, our opera was being produced as part of a new initiative through LA Opera to broaden the experience of those more familiar with traditional opera, as well as to expand and attract a new type of audience who do not normally attend opera.

During the Talk Backs after each performance, it was clear that some audience members held our very new form of opera to very old opera standards of the form– as was noted through some of the questions we received:  Why were there no supra titles? Why was there a video of seagulls flying upside down? Why were the singers mic’d?

These types of responses were relatively few but what I hear in them is how they speak to the path of change, a path that is generally always met with some manner of confusion and/or resistance.

Because my work and my interest as a theater artist has always been to investigate storytelling through the experimentation of form and style, and because I see theater as both a visual medium of time, space and physical action, and an arena for ritual, myth and metaphor, I have become used to the push-back associated with the new, the unconventional and the experimental.

Nevertheless, I am repeatedly reminded of just how important it is to set up the framework for any type of an experiment. Giving the audience (and the press) a context by which to view, review, observe, and respond to what they are seeing and experiencing not only helps them to more fully engage with something new or unfamiliar, but it often feeds the text of a critic’s review. Example: If we wake up after a long sleep and the moon is out and the sky is black, and someone tells us this is “daytime” then we may feel lost, scared, and confused. But if someone tells us that in this world day is night and night is day, then we have some context by which to experience our environment.

I recall my professor, Liz Diamond, Chair of Directing Dept. at Yale School of Drama, offering words of wisdom about the necessity to include a Director’s Statement in the program of every production because it is from this statement that the press often pulls language for reviews as well as can aid the marketing of the show). And yet, when I am so busy with the task of directing, I often forget to ask my producer to include a Director’s Statement –much less remember to write one. NOTE TO SELF: Remember to write Director’s Statement: frame the production.

If we are inviting audiences to buy a ticket and walk down a new and unfamiliar path, then the “signage” needs to be clear: e.g. context is everything!!!
Rehearsals at REDCAT Theater


It is my sincere impression that the majority of our audience who were opera-going regulars, as well as those who were frequent theater goers, experimental music lovers, modern dance or experimental theater patrons (audiences who did not have much experience with opera in general) all absolutely loved and were transported by our production.

I myself was touched and transported by the production—particularly the last two performances.  This is a real “gift”, for it is very rare for me to experience that type of the freedom as a director that during a run I am able to sit back and allow myself to give over to the journey I had directed, staged, choreographed, managed.

Because it is only during a run, in real time, that we get to really see the thing we have carried in our heads for so long as an idea, come together as a cohesive whole. Usually, my director’s eye is still at work, unable to rest, taking notes, refining and revising the production as all the parts get glued together

But because we were remounting SFTU, and not inventing this production from scratch, part of the pay off was, not only the satisfaction of getting to watch each performance, but the supreme joy of getting to experiencing the production.

I commend the excellence of the performers, NOW Ensemble musicians, Maestro Steve Osgood, as well as the expertise of the run crew, stage management, and tech assistants.

Interlude Four: Song From The Uproar


SFTU was a rare opportunity to apply my technique, One-Thought-One-Action (OTOA) to generate choreography. Because the thoughts/lyrics are a psychological and emotional response to the interior world of the lead character (rather than text that described or promoted a more quotidian series of actions and objectives) I was able to use OTOA in a choreographic manner that made it closer to interpretive dance, rather than to pedestrian activities.

The libretto of SFTU, is written more as metaphor and poetry, so when physicalizing the increments of thought/text, it organically led to physical actions that were form-based: content-driven gesture sequences, built upon the sung, poetic lines of text, and set to the music of the score.

The result was that the choreography was a full embodiment of the music, the singing and the libretto. In this way, the audience is seeing as well as hearing the entire opera: making it a fully immersive experience —not in the way the current trend of “immersive” theater has come to mean placing the audience in the middle of the stage action, but rather as a holistic experience.

SFTU was a fully collaborative effort where a group of highly talented artists, musicians, crafts people, technical experts and crew created a journey that, at its core, is about finding a kind of peace and collective resonance on the subject of death.

Although you know from the start that the lead is going to die, her journey (the music’s journey) leaves you uplifted by the experience of surrender: surrender to the flood that took her young life; surrender to our own destiny’s.

As I often say when speaking about the principles of OTOA, things of value take time, and this production was indeed a product of time. Our first chamber version of SFTU was in 2008, the full opera premiere 2012, and then this remount 3 years later. Like fine wine, it matured over time– and so did we all ;-).

Song From the Uproar Talk Back
(Left to right: Royce Vaverk, Librettist, Steve Osgood, Maestro/Music Director, Gia Forakis/me, Director/Choreographer, Missy Mazzoli, Composer, Beth Morrison, Producer, Christopher Koelsch, President & Chief Exec. Officer La Opera)

A MEMORABLE COMPLIMENT came via renowned international Director, and professor John Blondell (Chair of the Theater Department at Westmont College in Santa Barbara, CA) who, during the talk back following our closing performance, said: “The production had accomplished what Peter Brook talks about in his quest for the Holy Theater.”

At such high praise, I audibly and involuntarily gasped, and Missy, not sure if I had gasped in horror or delight, whispered: “Is that a good thing?” I whispered back, “Oh, yes! The best!”

Westmont College, Nestled in the mountains above Santa Barbara, CA


To conclude my SO CAL adventure, after SFTU closed, I traveled north by Amtrak  (riding alongside the Pacific ocean) to Santa Barbara, where I had been invited by Professor Blondell, to lead two One-Thought-One-Action (OTOA) Master Classes, plus one Seminar luncheon, at the impressive and inviting Westmont College.

I met John Blondell and his wife Vicki, in 2013, when I was invited as a Guest Artist to lead an OTOA workshop at the Bitola International Shakespeare Festival, in the charming city of Bitola, Macedonia.  John, and his Santa Barbra based theater company, Lit Moon, had been invited to the festival to present their production of The Tempest.

After I saw his production, and he sat in on my workshop, we discussed the possibility of bringing me to Westmont to lead an OTOA workshop there. Then when I knew I’d be coming to LA for Song From The Uproar, we realized it was the perfect time to bring me and OTOA to Santa Barbara for that workshop we had discussed over lunch in Bitloa.

And that, my friends, is what makes the community of theater so strong: engaging in an exchange of ideas, philosophy, and dialogue, while sharing a vision of the human experience through our work.

Westmont College, Santa Barbara, CA
The Harbor, Santa Barbara

I left Westmont feeling nourished. The students seemed guileless, trusting and eager to learn. The fresh air, the beautiful surroundings of Westmont campus and the town of Santa Barbara, the generosity of spirit, and the warm reception I received from everyone, left me feeling humbled and blessed. It was like adding (dairy free) the frosting to a (gluten free) slice of California cake.

The Beach, with the mountains in the background, Santa Barbara, CA

My SO CAL adventure was a blast!  I reunited with old friends and colleagues, many of whom I had not seen in decades and also newer friends and colleagues

Turns out I know a lot of people in LA, 90% of whom I did not get to see this trip, but it seems to me that I’ll be back in LA sooner than later…  It’s just a hunch, like a Peter Brooks’ “formless hunch”  –wink wink.

With Joy & Inspiration
Freelance Theater Director/Choreographer
OTOA Founder & Master Teacher

Opera + OTOA = Success!

September 25th, 2015

Can’t make it to Los Angeles to see
Song From the Uproar?
Come see an Open Rehearsal
in Jamaica Queens, NYC!

Monday Sep 28th & Thursday Oct 1st

Dear Friends, Colleagues, Patrons and OTOA Participants

As rehearsals for the Los Angeles remount of SONG FROM THE UPROAR are now fully underway I’m reminded of how beautiful this opera, composed by Missy Mazzoli, truly is, and how versatile and dynamic OTOA can be.

I staged SFTU utilizing OTOA to form all of the opera singer’s gesture-based choreography throughout the entire piece.  And as we work to bring back the production –which premiered at The Kitchen, NYC in 2012 — it’s gratifying to recognize OTOA’s wide and varied application.

Although this remount of SFTU is opening in LA we are opening our doors to the public for two special rehearsals, at the lovely Jamaica Performing Arts Center, in Jamaica Queens. Open rehearsals are free to the public and will be held on Monday, September 28th at 4:30 PM and Thursday, October 1st at 4:30 PM. Click here to see the NY1 Broadcast about our open rehearsals.

Returning to SFTU right after an exceptional week spent in Vermont for our 3rd Annual Putney School Residency ‎and the VT OTOA Intensive carries a certain synchronicity to life events. Click here to see beautiful photos and read more about the OTOA VT Intensive on our blog.

I hope to see you in Jamaica Queens for a free open SFTU rehearsal (more details below) or in LA for the remount (ticket info below)! And keep an eye out for the 2016 OTOA schedule later this year.

With Joy & Inspiration,
Gia Forakis
Gia Forakis
Artistic Director Gia Forakis & Company (GF&CO)
Founder & Master Teacher One-Thought-One-Action (OTOA)™

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Two upcoming rehearsals for
Song From the Uproar
will be open for the community
to attend for free.

Jamaica Performing Arts Center
153-10 Jamaica Ave, Jamaica, NY 11432

September 28 @ 4:30 PM
Open Rehearsal with Q&A
(Gia will be in attendance)

October 1 @ 4:30 PM
Open Rehearsal: Music Only

Photo: Lead Singer, Abigail Fisher.
Photo by James Matthew Daniel ©.2012

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

October 8th – October 11th
LA Opera’s Redcat Theater

Song From the Uproar
The Lives & Deaths of Isabelle Eberhardt
(Beth Morrison Projects)

This original, multi-media opera, composed & conceived by Missy Mazzoli in collaboration with director Gia Forakis, filmmaker Stephen Taylor and librettist Royce Vavrek, was voted #3 Best New Opera Events of 2012 by Time Out New York. If you are in the Los Angeles “neighborhood” this remounting is a must-see- but get your tickets asap: it’s a short run and it is nearly SOLD OUT!

SFTU Tickets & Information Here
Watch the Promo Video Here

SFTU Remount, OTOA in Santa Barbara & OTOA in Vemont Update

September 11th, 2015

I’m excited to announce that the remount of
Song From the Uproar is nearly SOLD OUT.
Get you tickets soon if you’d like to attend.
View the promo video here
and purchase tickets here.
More details below.

the remount of


The Lives & Deaths of Isabelle Eberhardt
Beth Morrison Projects
October 8th – October 11th
LA Opera’s Redcat Theater
Los Angeles, CA

This original, multi-media opera, composed & conceived by Missy Mazzoli in collaboration with director Gia Forakis, filmmaker Stephen Taylor and librettist Royce Vavrek, was voted #3 Best New Opera Events of 2012 by Time Out New York.

If you are in the “neighborhood” this remounting is a must-see- but get your tickets asap it’s a short run and it will sell out!
For more information and Tickets Click Here: LA Opera
Photo: Lead Singer, Abigail Fisher. Photo by James Matthew Daniel ©.2012

.   .   .   .   .   .   .   .   .   .   .   .   .

After the opera concludes I’ll be heading to Santa Barbara California, where I’ve been invited to lead an OTOA workshop at Westmont College in Santa Barbara, CA on October 15, 2015.

The invitation grew out of my trip to Macedonia to lead OTOA Workshops in 2013, where I had the good fortune to meet American Theater Director, John Blondell. John is a Professor of Theatre Arts and Chair of the Theatre Arts Department at Westmont. This is a great honor and another exciting opportunity to spread the word of OTOA!

Westmont College – 955 La Paz Rd, Santa Barbara, CA 93108
October 15, 2015
For details contact

.   .   .   .   .   .   .   .   .   .   .   .   .

I’m happy to report that the one week OTOA Vermont Intensive was a grand success! We had an excellent group and together were able to delve into OTOA on a deeper level. With the beautiful hills of Vermont as our backdrop we explored the practical tools and principles of OTOA, and experimented with new exercises and applications.

Throughout the week we covered the following areas of concentration:

– The Basics: OTOA’s Primary Principles, Tools & Technique
– Examination of Content Driven Thought & The Thinking Body
– Applying OTOA to a “Devised” Work
– The Practice of Watching & Listening
– Time & Space as Creative Mediums
– Theater as a Creative-Life Practice

Our time in Vermont provided the group with a wonderfully focused opportunity to participate with GF&CO members in the methods and development of OTOA, while also acting as a focused retreat for refreshing and reviving creative passion.

We also had time to gather one evening for a pot-luck supper and a kitchen-table reading of Ibsen’s “Hedda Gabbler,” which we followed up with OTOA scene study.

Our day began at 9:30am with workshops divided into two two sessions each day, separated by three hours of down time to enjoy the delicious organic lunches provided to us by The Putney School and some down time, for walking, reading, exercising, napping or OTOA prep work.

We were able to take full advantage of the tranquil surroundings including an invigorating hike up Putney Mountain.

Overall it was an exceptional week of OTOA-learning and a sea-change of growth for OTOA’s future development.

Here are a few testimonials from participants:

“[OTOA is] a creative practice technique that can be utilized throughout life and it embodies the concept that increments of content-filled thought can inform increments of content-driven gesture and shape, which creates a meaningful way to manifest a sequence of actions throughout the dimensions of time and space. Attending this Intensive provided me an incredibly valuable, empowering, and transformative experience.”
– Jeffery Parry, Musician-Actor-Artist-Philosopher

“I found that…applying OTOA to every moment of the week-long residency forced me to become more intimate with my own thoughts and opinions, especially those that are artistic and creative. I learned… about my own creative-life practice.”
– Stephanie Regina, Artist

“OTOA provides the artist with time to investigate what their incremental thoughts are, connecting with a shape, and providing the artist with [physical] action to get to that next incremental thought. If that thought was not a true/honest increment, the artist is gifted with time to go backwards, through the increments of thought that took them there to begin with.”
– Clara F. Pagone, Artist

I’m inspired to take the insights from this week in Vermont and to start building a broader platform for OTOA, as well as a more active year of ongoing workshops for 2016 (which I hope to be announcing in December or January). As OTOA continues to lead the way in my creative-life practice, I look forward to sharing what comes next.

With Joy & Inspiration
OTOA Founder & Master Teacher

Announcing the Remounting of Song From The Uproar

June 1st, 2015

Song From The Uproar

I’m excited to announce
the remounting of

Song From The Uproar:
The Lives & Deaths of Isabelle Eberhardt
Beth Morrison Projects)

Song From The Uproar

Running October 8th – 11th at LA Opera’s Redcat Theater. This original, multi-media opera composed and conceived by Missy Mazzoli in collaboration with director Gia Forakis, filmmaker Stephen Taylor and librettist Royce Vavrek, was voted #3 Best New Opera Events of 2012 by Time Out New York.

If you are in or near Los Angeles, California
and in the “neighborhood” this remounting is a must-see!

OCTOBER 8th – OCTOBER 11th @ REDCAT Theater
631 West 2nd Street, Los Angeles, CA 90012

Tickets go on sale to the general public on JUNE 28, 2015.
For more information and tickets visit LA Opera.

Photo: Lead Singer, Abigail Fisher by James Matthew Daniel ©.2012

Happy Holidays

December 4th, 2013

The most beautiful thing we can give the world is the mysterious. It is the source of all true art and science ~ Albert Einstein

Season’s Greetings Everyone

May your New Year be filled with Vibrant Health, an Inspired Heart, and the Profound Beauty of The Mysterious!

~Looking Ahead into The New Year~

As I write this, December has only just begun but visions of 2014 are keeping me up at night with the excitement and the anticipated delights of creativity, opportunity and the blessings of: colleagueship, patronage, support, faithful friends and artistic collaboration!

What is all the excitement? Well…

In 2014, GF&CO (Gia Forakis & Company) heads into its fourth year (that was fast…?!)  with a roster of dedicated and talented, OTOA trained, professional theater artists, a full list of projects in development and with a calendar of production dates in sight (see below for details).

IN 2014, OTOA (One-Thought-One-Action) begins its 8th year (–what?!?) since I began to formalize OTOA as a valued rehearsal and performance technique. And its been 5 years since I began leading independent workshops here in NYC.  In the last two years, OTOA has slowly gained a broader awareness, and I have been invited to lead workshops in Europe twice, with more invitations in 2014, both nationally and internationally, that look very promising (see below for details).

In 2014, GF&CO & OTOA HQ at 276 Greenpoint Avenue, in Greenpoint Brooklyn, will begin its second year as our office and home base: a productive and very welcome work space for keeping all the proverbial balls juggling in the air!  With and Excess of Gratitude to GF&CO’s generous patrons who make this space possible!

And 2014 begins yet another new enterprise: Boncz-Forakis Projects. BFP is the independent production team of Adam Boncz (Actor, Producer & GF&CO Founding Member) and myself. Adam and I decided to join forces as a way to share our curatorial interests as well as a forum for producing new projects that we are inspired by and committed to sharing with new audiences. Our very first Boncz-Forakis Project

BFP Presents
The Internationally Acclaimed Production of


A One-Woman Show, Written & Performed
by Nina Sallinen



~Seating Limited to 30 people per night~

About POOR POOR LEAR & Finnish Actress Nina Sallinen:

I met Nina, and saw her exquisite production and performance of Poor Poor Lear, when I was in Macedonia this past Summer (2013), where I was hosted by the National Theater of Bitola, to lead an OTOA Workshop as part of their First Annual Shakespeare Festival.

Her performance, and her adaptation of Shakespeare’s King Lear, was so moving, so intelligent, so creative that I wished I had created it or performed it, or directed it myself! Nina’s performance embodied, for me, the attributes of OTOA: actively engaging us, the audience, in her Physical Expression of the Actor’s/Character’s Thinking Process. Additionally, she got to the core of the stoy of Lear that interests me the most– the adult children of an aging parent (what GF&CO’s will be working to create in our LEAR Project 2015).    Finally, watching Poor Poor Lear, I experienced one of those rare moments which reminds you of what it is you love about theater: when it hits you so deeply that you are elated and awakened, connected to the universe and to your sense of self in a way that reminds you of your essential self– that’s the magic of theater!

And– it doesn’t stop here, There is more in store for 2014.

Here is just a small sampling with details to come in the months ahead…

~Gia Forakis & Company 2014~

GF&CO’s Co-Production’s:

Fatelessness, NYC & HUNGARY (more information to come)

Helver’s Night, NYC & MACEDONIA (more information to come)

GF&CO’s Very Exciting, Very First, Full Main Stage Production:

O.REX: a new translation of Sophocles’ Oedipus Rex,                                                                  translated by Mark Buchan & Gia Forakis, re-envisioned as a Greek-Noir Classic

A site-specific production, with original music and song, that will immerse you in the world of a plague-torn country locked in deceit, moral ambiguity, and the fine lines between private actions have public consequences.

GF&CO’s Open Door Invitation:

GF&CO is expanding its Associate Member Roster of Professional Theater Artists. Open Door Invitation is designed for actors interested in possibly becoming new GF&CO Associate Members Artists and/or possible O.REX Understudies. From JAN -JUNE 2014, GF&CO will be meeting one weekend each month to workshop O.REX and lead company OTOA trainings sessions.  These weekends will be opportunities to work, train and to get to know us alongside of our first main stage project (O.REX) over a 6 month period.

For more information– contact me directly at:                                                                                                                          SUBJECT HEADER: GF&CO Open Door

~One-Thought-One-Action 2014~

I am gratified, humbled and very honored to say that OTOA has been growing so popular that I am having trouble squeezing in Workshops in NYC.

So far the 2014 calendar:

OTOA in January– Off Square Theater Company, Jackson Hole, Wyoming

OTOA in June- National Theater of Serbia, Belgrade Serbia

OTOA Goes to Bitola, Macedonia, Summer 2013

July 2nd, 2013


TRANSLATION: Gia is being hosted to teach OTOA at the 1st Annual International Shakespeare Festival in Bitola, Macedonia!!!

Thanks to GF&CO, Macedonian, Company Member, Tony Naumovski, I have been invited to lead an OTOA Workshop to an international community of theater artists from all over the globe. I am thrilled and honored.

Last summer, 2012, I was invited to lead OTOA workshops in Athens, Greece. So I am not sure what it is about this part of the world, but OTOA is reaching new destinations with it’s intuitive based technique that crosses language barriers.

Check Back for updates from this new adventure!


May 31st, 2013

Friends & Colleagues –

The OTOA 2-Day Intensive Workshop is only 5 weeks away!
Compared to previous 2-Day Workshops this workshop has many special features!

First: This workshop will take place at my Greenpoint Brooklyn Studio, Java Hauz.
Second: I must keep his workshop small– so sign up ASAP!
Third: Rates for this workshop are at a significant discount of only $175 per person
(compared with the $225. rate for Manhattan based 2-Day OTOA Workshops).
Finally: The Hackler Awards: Thanks to the remarkable generosity of one of my colleagues,
I am able to offer two partial scholarships* for the July Workshop -$125 each.


Please feel free to forward this email to your friends, colleagues and students.

With Joy & Inspiration,

Gia Forakis,
Founder and Master Teacher


FRIDAY JULY 6TH: 6pm – 9pm
SATURDAY JULY 5TH: 12pm – 6pm

There are currently no discount rates available for this workshop

Thanks to the generosity Theater Artist Jon Blake Hackler there are currently
in the amount of $125 per person. Please email Gia Forakis ASAP at with your Headshot, Resume,
and a note expressing your interest and need to be considered for a Hackler Award

Returning students are welcome to attend any OTOA 2-DAY WORKSHOP on a
Pay-What-You-Can-Afford basis within two years of their first class.
After that time, please contact Gia directly.
This offer is contingent on making a commitment
to the entire 2-Day Workshop schedule.

LOCATION: Java Hauz – 169 Java Street, Greenpoint, Brooklyn, NY 11222
(G train to Greenpoint Ave Stop)


The OTOA Workshop is designed for Performers, Directors, and Film Makers,
offering participants an intensive 2-Day OTOA training and exercises in a small group setting with Founder and Master Teacher Gia Forakis.
· Expansion of physical vocabulary
· How to bring clarity, versatility and physical vitality to all of their projects
· A new perspective on Content-Driven Physical Action (CDPA)
· Ability to put OTOA to use (in conjunction with other training or in its pure form)

Founder & Master Teacher

Gia Forakis is a theater artist, known primarily as a director for the stage, teacher and acting coach. She is also the Artistic Director of Gia Forakis & Company (GF&CO), an ensemble of professional theater artists committed to the application of One-Thought-One-Action™ (OTOA) in Action. Gia holds an MFA from Yale School of Drama in Directing and a BFA from New York University’s Tisch School of the Arts, Graduate Acting Program. In 2006, Forakis officially founded OTOA, and continues to articulate and develop the theory, principles and technique via workshops, one-on-one coaching sessions, teaching opportunities and guest directorships at various colleges and theater institutions. In 2011, Gia was nominated for the prestigious Zelda Fichandler Award.

“OTOA arose out of a personal and professional directorial imperative to get more detailed, specific and physically dynamic performances from the actors I was working with. This desire forced me to consider more deeply what it was I found the most satisfying and compelling when watching a theatrical event. It soon became clear that it is the physical expression of the actor’s thinking process that engages me the most, allowing me to invest more fully in the production, rather than in just the text. It is this detailed visualization that distinguishes the stage’s capacity for expression from that of radio or literature, thereby providing a more visceral event for the audience.”

OTOA is a revolutionary rehearsal and performance technique
developed by New York theater director & acting coach, Gia Forakis.
OTOA is a method for identifying smaller increments of thought
as smaller moments of physical action.
OTOA functions from an intuitive premise that leads the performer to liberate their motivations for a more detailed, engaged and dynamic presence; ultimately connecting with and engaging audiences in a more visceral way.

To Sign Up for this Workshop, or Apply for a HACKLER AWARD partial scholarship for the July 2-Day Workshop:


March 26th, 2013

The thoroughly charming, Adam Boncz (GF&CO Founding Member Actor) brings the unique story of survival to life in FATELESSNESS: one night only, staged reading, based on the book by Nobel Prize winning, Hungarian author, Imre Kertész, tale of the Holocaust; April 16th, Hungarian Holocaust Memorial Day. Directed and Co-Created by, Gia Forakis, Set & Costume Design, Lydia Androti, Stage Manager, Lila al… Admission, free.!

March 13th, 2013