Intimacy & Consent
About
Résumé
On Stage
On Screen
FAQ
About
Tanya began her Intimacy Professional journey when she took an Intimacy for Stage & Screen workshop under Tonia Sina (Intimacy Directors International Co-Founder & Executive Director) in February 2017. She was thrilled to encounter Intimacy Coordination on set for the first time while working on The Deuce, where she got to perform in the care of Alicia Rodis (Intimacy Directors International Co-Founder & Associate Director).
In June 2023, Tanya received her Consent-Forward Artist certificate through Intimacy Directors & Coordinators (IDC). She is an Emerging Member of the Florida Intimacy Professionals Collective and is currently part of IDC's Intimacy Professional Accelerator Program.
As an Intimacy Professional, Tanya is there to choreograph specific scenes and act as a safety support net for the entire team. She comes to this work with a passion for making the creative process feel easy and joyful for everyone, even when telling challenging stories. She loves detailed and powerful storytelling that makes her actors and the team feel confident with each scene.
In June 2023, Tanya received her Consent-Forward Artist certificate through Intimacy Directors & Coordinators (IDC). She is an Emerging Member of the Florida Intimacy Professionals Collective and is currently part of IDC's Intimacy Professional Accelerator Program.
As an Intimacy Professional, Tanya is there to choreograph specific scenes and act as a safety support net for the entire team. She comes to this work with a passion for making the creative process feel easy and joyful for everyone, even when telling challenging stories. She loves detailed and powerful storytelling that makes her actors and the team feel confident with each scene.
Hunter Rogers
Reviewer
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Rhe’a Hughes and Tanya Wheelock’s choreography and intimacy direction also excel, especially in the show’s many intimate moments.
Hunter Rogers, The Orlando Performer
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Tanya's Consent-Forward Artist Certificate | |
File Size: | 171 kb |
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Résumé
On Stage
On Screen
Intimacy Coordination for TV/Film
FAQ
Hiring an Intimacy Professional
What is the difference between an Intimacy Director and an Intimacy Coordinator?
An Intimacy Director is a choreographer, an advocate for actors, and a liaison between actors and production for scenes that involve nudity/hyper-exposed work, simulated sex acts, and intimate/sexualized physical contact in live performance. May also be referred to in the field as an intimacy choreographer.
An Intimacy Coordinator is a choreographer, an advocate for actors, and a liaison between actors and production for scenes that involve nudity/hyper-exposed work, simulated sex acts, and intimate/sexualized physical contact in tv or film.
Intimacy Professional is an industry-neutral term that refers to a creative professional who specializes in the telling of scenes that involve nudity/hyper-exposed work, simulated sex acts, and intimate/sexualized physical contact.
An Intimacy Coordinator is a choreographer, an advocate for actors, and a liaison between actors and production for scenes that involve nudity/hyper-exposed work, simulated sex acts, and intimate/sexualized physical contact in tv or film.
Intimacy Professional is an industry-neutral term that refers to a creative professional who specializes in the telling of scenes that involve nudity/hyper-exposed work, simulated sex acts, and intimate/sexualized physical contact.
What Does an Intimacy Professional Actually Do?
In the words of IDC:
"An intimacy professional is first and foremost a movement specialist whose role is to support the storytelling of intimate moments. To do this, the position can be divided into three smaller roles, each of which is just as important as the other: advocate, liaison, and choreographer.
An Intimacy Professional is not a mental health practitioner, a fight director, a stunt coordinator, or a cultural consultant. In some situations, one or more of these experts may also be needed to collaborate and support what the intimacy is uniquely to a specific scene or piece.
"An intimacy professional is first and foremost a movement specialist whose role is to support the storytelling of intimate moments. To do this, the position can be divided into three smaller roles, each of which is just as important as the other: advocate, liaison, and choreographer.
- Advocate: Intimacy direction or coordination cannot be done without a firm foundation of consent-based work. Because of the vulnerable nature of these stories, this role is responsible for ensuring that performers maintain agency over their bodies and have access to tools to advocate for their boundaries and needs. Additionally, they ensure that the performers involved in a scene of intimacy consent to the actions choreographed and stories being told. As an advocate, they are a support system that facilitates conversations involving the performers and the creative team, helping to ensure that everyone has the tools that they need to do their best work. This can be a powerful force to combat potentially harmful power dynamics and can foster a space where consent can be freely given and withdrawn.
- Liaison: Intimacy professionals are department heads, and as such, they serve as a connection point and communication specialist within the production. With a specific lens of intimate storytelling, intimacy professionals may do such things as communicate about the need for knee pads or modesty garments with costumes or communicate with the lighting designer ahead of time that there will be a moment of nudity. Intimacy directors and coordinators are connective tissue in a production and work to ensure that all parties have the information necessary to support vulnerable storytelling.
- Choreographer: As movement professionals, intimacy directors and coordinators must understand how to collaboratively create and set movements that are consensual, dynamic, and repeatable to fulfill the director's vision and support the boundaries of the performers. Choreography may be set moves that are very specific, or it may look like choreographic parameters that have some room for adjustments or shifts. The goal is to have the same story be told that is agreed upon by the performers and director, no matter how many times the show is performed or the scene is shot."
An Intimacy Professional is not a mental health practitioner, a fight director, a stunt coordinator, or a cultural consultant. In some situations, one or more of these experts may also be needed to collaborate and support what the intimacy is uniquely to a specific scene or piece.
How do I know if I should hire an Intimacy Professional for my project?
Are you creating a project that has nudity, simulated sex, and/or hyperexposure? An Intimacy Professional is a great support for both artistry and safety. Check out this flow chart from Intimacy Directors & Coordinators (IDC) to help decide if an Intimacy Professional is right for your project.
Nicole Perry has also written 2 blog posts with guidance:
Here are some additional resources regarding hiring Intimacy Professionals:
- Simulated Sexual Acts: This refers to a scene that tells the story of sexual contact between two or more characters or an act of simulated self-stimulation.
- Nudity / Hyper-Exposure: Nudity is often defined as anything that involves exposing the buttocks, genitals, and/or chest/breast/nipple. The term hyper-exposure creates space for advocacy regarding areas of the body that a performer usually keeps covered in their day-to-day life but consents to have visible in a performance. If a performer feels as though the action of exposing a specific part of the body will be a particularly vulnerable experience for them, an intimacy professional can address the moment with similar scaffolding that is used for nudity. Some examples might include a person’s hair or head that they usually keep covered in public, or a scar that someone usually does not reveal.
- Intimate / Sexualized Physical Contact: T his is content that does not represent an explicit sex act, but tells the story of a moment that is very intimate, sexually charged, or simulates genital contact. Examples can include the story of a caretaker giving a sponge bath, an intense kissing scene, or a birthing scene.
Nicole Perry has also written 2 blog posts with guidance:
Here are some additional resources regarding hiring Intimacy Professionals:
How do I know which Intimacy Professional I should hire for my project?
In the words of the Florida Intimacy Professionals Collective:
"There are many aspects to consider when hiring an Intimacy Professional. Besides training in the Intimacy Profession, and experience in the medium you are using to tell as story, you may also wish to consider cultural competency, lived experience, and/or past experience in the subject or style.
If you are hiring someone as an Intimacy Professional, they should be:
A reminder to producers - the role of Intimacy Director is meant to mitigate power dynamics, not compound them. Having someone already in the hierarchy of production (i.e. Director, Associate Director, Producer) serve as Intimacy Director compounds power. This does not allow actors to confidently give consent, and is not the best available practice in the industry. Hiring designated Intimacy Professionals create spaces where we can all create not only excellent movement story-telling, but a culture of consent.
You may wish to consult Hiring an Intimacy Professional from Theatrical Intimacy Education (TIE), and/or 5 Questions to Ask When Hiring an Intimacy Choreographer created by Nicole Perry."
Standards and Qualifications for Vetting of Intimacy Coordinators from SAG-AFTRA is also a wonderful resource.
"There are many aspects to consider when hiring an Intimacy Professional. Besides training in the Intimacy Profession, and experience in the medium you are using to tell as story, you may also wish to consider cultural competency, lived experience, and/or past experience in the subject or style.
If you are hiring someone as an Intimacy Professional, they should be:
- Advocates for those with less power in the room
- Choreographers who use movement as storytelling
- Skilled communicators, able to facilitate discussions around boundaries and closure, consent and power
A reminder to producers - the role of Intimacy Director is meant to mitigate power dynamics, not compound them. Having someone already in the hierarchy of production (i.e. Director, Associate Director, Producer) serve as Intimacy Director compounds power. This does not allow actors to confidently give consent, and is not the best available practice in the industry. Hiring designated Intimacy Professionals create spaces where we can all create not only excellent movement story-telling, but a culture of consent.
You may wish to consult Hiring an Intimacy Professional from Theatrical Intimacy Education (TIE), and/or 5 Questions to Ask When Hiring an Intimacy Choreographer created by Nicole Perry."
Standards and Qualifications for Vetting of Intimacy Coordinators from SAG-AFTRA is also a wonderful resource.
What are your rates?
Florida Intimacy Professionals Collective (FLIP) members have had a transparent conversation around rates. For theatre, these rates are based on the SDC contract tiers for choreographers. For film, these rates are based on SAG rates for stunt coordinators. However, each FLIP member negotiates their rates based on their own judgement and values. FLIP does not set rates for members, and as an Emerging Member and student, I welcome a conversation about your budget and the scope of work.
Can You provide any additional Resources?
- Intimacy Directors & Coordinators (IDC)
- Florida Intimacy Professionals Collective (FLIP)
- SAG-AFTRA's Nudity and You (for Actors)
- Culture House Cultural Consultancy
I also highly recommend reading Supporting Staged Intimacy by Alexis Black and Tina M. Newhauser. It is "written for every pre-professional and professional artist working behind the scenes who wish to better support consensual workplaces, physically intimate stories, and the individuals telling those stories."
Consent-Forward Spaces
What is a Consent-Forward Artist?
In the words of IDC:
"A Consent-Forward Artist is someone with a deep foundational understanding of individual agency in the workplace, clear and open communication, and a “human first” approach to art-making. They are individuals who understand how power dynamics can affect consent and are equipped with tools to help mitigate the negative impact of those dynamics in the entertainment industry. Program participants have practiced staging simple moments of intimacy (such as a kiss or an embrace) and cultivated tools for working physically and consensually within a production environment."
"A Consent-Forward Artist utilizes consent-based approaches to promote individual agency and autonomy in the entertainment industry. A consent-forward artist understands how power dynamics affect consent, and they are equipped with tools that can help mitigate the negative impact of those dynamics. They are able to support basic scenes of intimacy and actively apply the foundations of intimacy work to non-intimate scenes as well."
"They are producers, costume designers, stage managers, actors, dancers, teaching artists, administrators, directors, and ADs. They are educators and advocates. They are the future of the industry."
"The “Consent-Forward Artist Certificate” is a designation of study and achievement, similar in scope to a First Aid Certification. It demonstrates to colleagues, employers, and the community at large that the certificate holder is proficient in utilizing consent-forward artistic practices to support safer working environments."
They embody what they have learned in IDC's Level 1 and Level 2, and leave the program ready to bring Consent Forward Practices to any creative space they enter.
CFA Program Level 1 Course Objectives:
CFA Program Level 2 Course Objectives:
"A Consent-Forward Artist is someone with a deep foundational understanding of individual agency in the workplace, clear and open communication, and a “human first” approach to art-making. They are individuals who understand how power dynamics can affect consent and are equipped with tools to help mitigate the negative impact of those dynamics in the entertainment industry. Program participants have practiced staging simple moments of intimacy (such as a kiss or an embrace) and cultivated tools for working physically and consensually within a production environment."
"A Consent-Forward Artist utilizes consent-based approaches to promote individual agency and autonomy in the entertainment industry. A consent-forward artist understands how power dynamics affect consent, and they are equipped with tools that can help mitigate the negative impact of those dynamics. They are able to support basic scenes of intimacy and actively apply the foundations of intimacy work to non-intimate scenes as well."
"They are producers, costume designers, stage managers, actors, dancers, teaching artists, administrators, directors, and ADs. They are educators and advocates. They are the future of the industry."
"The “Consent-Forward Artist Certificate” is a designation of study and achievement, similar in scope to a First Aid Certification. It demonstrates to colleagues, employers, and the community at large that the certificate holder is proficient in utilizing consent-forward artistic practices to support safer working environments."
They embody what they have learned in IDC's Level 1 and Level 2, and leave the program ready to bring Consent Forward Practices to any creative space they enter.
CFA Program Level 1 Course Objectives:
- Identify the ways in which power dynamics affect consent in the workplace, and implement tools to mitigate negative impacts
- Utilize appropriate, technical language when working with scenes of intimacy
- Engage in context-based boundary conversations with a scene partner or colleague
- Utilize trauma-informed practices to reduce harm in the workplace and affect positive change within their spheres of influence
- Apply consent-based practices to multiple disciplines for the purpose of creating a culture of consent in the workplace
CFA Program Level 2 Course Objectives:
- Define their personal Integrity-Based Practices: a collection of self-generated commitments to create short-term and long-term change within their spheres of influence
- Discuss a scene of intimacy based on a foundation of narrative context, rather than their own personal experiences
- Utilize bystander intervention techniques to advocate for themselves and others when a boundary is crossed
- Analyze intimacy choreography and determine how choreographic choices impact storytelling on both stage and screen
- Implement containers for exploring impulse-based work within actor boundaries
- Create nuanced strategies for mitigating the negative effects of the power dynamics present in the entertainment industry
- Identify the needs of an intimate scene based on the script and context of the production
- Employ a trauma-informed approach to create closure practices that support sustainability for actors and other creative team members
What are the pillars of intimacy in production?
IDC's five pillars of intimacy in production define key components for the safe and ethical creation of intimate content in live performance, tv or film. While these principles are defined with respect to a scene of intimacy, many of them can and should be applied beyond intimate scene work to contribute towards a collaborative and consensual rehearsal and performance culture.
- Context refers to the shared analysis of the given circumstances for both the piece and the production as a whole. Each scene of intimacy will require a slightly different approach, and context allows for the unique attributes of each situation to be named, addressed, and understood by all those involved.
- Consent is a freely given and knowing agreement between two parties to participate in a specific predetermined action. Consent can only exist when it is voluntary and allows for all parties to change their mind. In a culture of consent, individuals can choose between "Yes” and “No” freely, without fear of perceived negative consequences.
- Communication must be open and free flowing during the production process to ensure that everyone understands what is being asked of them. Clear and continuous communication that uses inclusive language affords every team member the opportunity to give their informed and confident consent to both the story being told and to the actions in which they are involved.
- Choreography is a roadmap for the physical movements and emotional journey of the scene. It is a framework, within which actors can safely and effectively work physically and emotionally with one another. Intimacy choreography is meant to be adaptable to fit the needs of the storytelling. It can be hyper specific, or it may create broader containers for consensual impulse exploration.
- Closure is a specific ritual or practice for the purpose of containing, processing, and categorizing feelings and experiences that emerge while working on a project. Building opening and closing practices help practitioners more safely explore imagined scenarios without experiencing repercussions in their everyday lives. Closure practices support the wellness of the entire creative team, and promote sustainability in the workplace.
What is CRISP?
CRISP is a mnemonic device developed at IDC to specify elements of consent in the entertainment industry, specifically, though not exclusively, as it applies to scenes of intimacy. Although “permission” and “consent” can often be used interchangeably in a colloquial sense, we must differentiate between the two for a consent-forward production.
Permission is a direction by someone in a position of power that an action is allowed to happen in this space. Consent can only be given by those involved in an action. Consent is dynamic and collaborative. Consent is needed from all individuals participating in an action for that action to take place. A director may give permission for performers to kiss, but the consent agreement can only take place between the performers themselves.
Consent is ALWAYS:
CRISP is adapted from FRIES, a mnemonic device created by Planned Parenthood.
Permission is a direction by someone in a position of power that an action is allowed to happen in this space. Consent can only be given by those involved in an action. Consent is dynamic and collaborative. Consent is needed from all individuals participating in an action for that action to take place. A director may give permission for performers to kiss, but the consent agreement can only take place between the performers themselves.
Consent is ALWAYS:
- Considered: Performers must be given time to consider what is being proposed before making a decision so that they are able to properly weigh their choice.
- Revocable: Performers may revoke consent at any time before or during performance regarding physical contact with and/or exposure of their body.
- Informed: Performers must be given the specifics of a proposed action - what is being simulated or shown; with whom; what is the context of the scene - in order for them to consider a proposal.
- Specific: Consent to a simulated action or level of nudity in one scene or production does not mean that the performer will consent to the same simulated action or level of nudity in another.
- Participatory: Performers should be treated as a collaborator in the creation of a scene of intimacy in an ongoing and active way, not treated as a "living prop" or chess piece.
CRISP is adapted from FRIES, a mnemonic device created by Planned Parenthood.
What are "Individual Boundaries" and How do I express them when working with an Intimacy Professional?
Per IDC, Individual Boundaries are context-based boundaries established by an individual performer regarding their own body and actions.
Individual boundaries vary from scene to scene (remember the “S” in CRISP) and are communicated to a scene partner[s]. They can also be shared with an advocate such as a stage manager and/or intimacy professional.
Phrases that specify points of contact such as "hand-to-shoulder" or "chest-to-chest" are generally very helpful in establishing clear, context-based boundaries. They may sound like, "No hand-to-groin contact," "No hand-to-chest contact," "No hand-to-buttocks contact."
IDC does not generally recommend physical contact during boundary conversations as many of these practices are not context-based and can result in substantially more contact than the scene work itself necessitates.
You do not have to share a complete “head-to-toe” inventory of all of your physical boundaries. Please base your conversation on the scene itself (context). For example, if you are working on a scene in which two college friends embrace after throwing their hats in the air at graduation, you are not required to name to your scene partner that a mole on the inner part of your left thigh is not within your boundaries for contact.
Boundaries do not need a justification. For example, you can simply say, “My right wrist is off-limits for any touch.” You do not have to add, “...because I had wrist surgery last year.”
Additionally, individual boundaries can refer to levels of physical pressure in contact (e.g., “You may tap my hand, but do not slap it.”). If performers consent to lip-to-lip contact, it is important that they are able to communicate clearly regarding what degree of contact is within their boundaries. This is one of many instances in our industry in which assumptions about what is and is not okay have been the root of many crossed boundaries, both intentional and unintentional. By using specific language, expectations and boundaries can be clearly established. For example, "No tongue-to-tongue contact," or "No open mouth."
It’s okay to ask questions after someone has shared a boundary with you - but be sure that they are clarifying questions, not negotiating ones. Clarifying Questions are questions that attempt to better understand someone’s stated boundary. Negotiating Questions are questions that attempt to persuade someone to shift their stated boundary. For example: “In the section where our characters play ‘footsie,’ please do not make physical contact above my mid-calf.”
• Clarifying Question: “Absolutely. Can you point to where mid-calf is for you?”
• Negotiating Question: “But what if it’s really quick?”
Initial boundary conversations should take place between performers before scenes with extensive physical contact are blocked. This will be the first time they check in, not the only time. This check-in is for the performers themselves. The presence of an individual in a position of power can dissuade open communication. A Stage Manager (or someone in a similar role) is encouraged to stay present and available in the same room as the performers, so that the performers can get their attention if there is a question, but generally remain out of earshot.
It is appropriate for the check-in to be out of earshot of the SM and others, but is best if not hidden behind closed doors, particularly in private spaces such as a dressing room. After the performers complete their check-in, a stage manager or similar advocate can check in with them.
Additional scene partner check-ins will be held at the start of any rehearsal involving Intimacy to make sure performers still feel safe and comfortable.
If, for some reason, you do not feel comfortable communicating with your scene partner[s] or feel a problem is arising- please talk to someone you feel safe communicating with (Intimacy Professional, Stage Manager, Director, Choreographer).
IDC Examples of Individual Boundaries:
Individual boundaries vary from scene to scene (remember the “S” in CRISP) and are communicated to a scene partner[s]. They can also be shared with an advocate such as a stage manager and/or intimacy professional.
Phrases that specify points of contact such as "hand-to-shoulder" or "chest-to-chest" are generally very helpful in establishing clear, context-based boundaries. They may sound like, "No hand-to-groin contact," "No hand-to-chest contact," "No hand-to-buttocks contact."
IDC does not generally recommend physical contact during boundary conversations as many of these practices are not context-based and can result in substantially more contact than the scene work itself necessitates.
You do not have to share a complete “head-to-toe” inventory of all of your physical boundaries. Please base your conversation on the scene itself (context). For example, if you are working on a scene in which two college friends embrace after throwing their hats in the air at graduation, you are not required to name to your scene partner that a mole on the inner part of your left thigh is not within your boundaries for contact.
Boundaries do not need a justification. For example, you can simply say, “My right wrist is off-limits for any touch.” You do not have to add, “...because I had wrist surgery last year.”
Additionally, individual boundaries can refer to levels of physical pressure in contact (e.g., “You may tap my hand, but do not slap it.”). If performers consent to lip-to-lip contact, it is important that they are able to communicate clearly regarding what degree of contact is within their boundaries. This is one of many instances in our industry in which assumptions about what is and is not okay have been the root of many crossed boundaries, both intentional and unintentional. By using specific language, expectations and boundaries can be clearly established. For example, "No tongue-to-tongue contact," or "No open mouth."
It’s okay to ask questions after someone has shared a boundary with you - but be sure that they are clarifying questions, not negotiating ones. Clarifying Questions are questions that attempt to better understand someone’s stated boundary. Negotiating Questions are questions that attempt to persuade someone to shift their stated boundary. For example: “In the section where our characters play ‘footsie,’ please do not make physical contact above my mid-calf.”
• Clarifying Question: “Absolutely. Can you point to where mid-calf is for you?”
• Negotiating Question: “But what if it’s really quick?”
Initial boundary conversations should take place between performers before scenes with extensive physical contact are blocked. This will be the first time they check in, not the only time. This check-in is for the performers themselves. The presence of an individual in a position of power can dissuade open communication. A Stage Manager (or someone in a similar role) is encouraged to stay present and available in the same room as the performers, so that the performers can get their attention if there is a question, but generally remain out of earshot.
It is appropriate for the check-in to be out of earshot of the SM and others, but is best if not hidden behind closed doors, particularly in private spaces such as a dressing room. After the performers complete their check-in, a stage manager or similar advocate can check in with them.
Additional scene partner check-ins will be held at the start of any rehearsal involving Intimacy to make sure performers still feel safe and comfortable.
If, for some reason, you do not feel comfortable communicating with your scene partner[s] or feel a problem is arising- please talk to someone you feel safe communicating with (Intimacy Professional, Stage Manager, Director, Choreographer).
IDC Examples of Individual Boundaries:
- “Contact of my hand to your buttocks is not within my boundaries for this scene.”
- “I am okay with performer A touching my neck in the medical scene in which they palpate my lymph nodes. I am not okay with performer B touching my neck in the simulated sex scene.”
- “Do not touch my hair.”
- "Yes, if there is no improvisation.”
- "Hand-to-chest contact is within my boundaries as long as it is not a grab."
- "I am willing to be filmed simulating sexual position A but not sexual position B."
- “Please don’t use my actual name or ‘you’ when you are talking about the sex acts of the characters.” (That might sound like: “Juliet desperately wants to have sex with Romeo in this scene.” rather than, “She desperately wants to have sex with you in this scene.”)
- "During the section when you whisper in my ear onstage, please do not improvise text.”
- “I will appear nude below the waist if it is in silhouette but not in full light.”
- “I am willing to remove my headscarf in a film written and directed by someone who shares my identity in a project about our culture. I am not willing to remove it for a 'fun in the sun' beach commercial for soda.”
- “I am willing to say the slur that is written in the script if I am cast in the production, but not dozens of times with different scene partners at callbacks.”
- “I will take this role as long as we will be supported by a fight director.”
- “I am not willing to play that character.”
- “I am not willing to play a role written for someone with a marginalized identity that I do not share.”
What is an Exit Strategy when working with an intimacy professional?
An Exit Strategy is a means to pause so that a need can be met. You always have the ability to use an Exit Strategy, including “Hold” or “Stop” or “Pause” — Whichever is most accessible in the moment.
Additional non-verbal exit strategies:
• Open hand with thumb at sternum, pinky facing out.
• Double tap.
• ASL for the word “safe” (https://www.handspeak.com/word/5045/)
Additional non-verbal exit strategies:
• Open hand with thumb at sternum, pinky facing out.
• Double tap.
• ASL for the word “safe” (https://www.handspeak.com/word/5045/)
What can I do to be a better advocate behind the scenes?
I highly recommend reading Supporting Staged Intimacy by Alexis Black and Tina M. Newhauser. It is "written for every pre-professional and professional artist working behind the scenes who wish to better support consensual workplaces, physically intimate stories, and the individuals telling those stories."
More Soon!
Check back for more questions in the future!
2006 - 2024 © TANYA WHEELOCK
ALL INFORMATION AND PHOTOS ON THIS WEBSITE ARE COPYRIGHT OF THEIR RESPECTIVE OWNERS. IMAGES MAY NOT BE COPIED, PRINTED, OR REPRODUCED WITHOUT PERMISSION. Specific Fine Art images have been censored. Tanya does not give permission for cloning or of her voice/image, The use of her image or voice to train AI or be used in TTS is strictly prohibited. Any unauthorized use will be prosecuted.
PLEASE DIRECT PROFESSIONAL INQUIRIES TO TANYA'S REPRESENTATION.
INSTEAD OF A MOBILE DEVICE, PLEASE USE A PROPER WEB BROWSER FOR AN OPTIMAL BROWSING EXPERIENCE. THANK YOU!
ALL INFORMATION AND PHOTOS ON THIS WEBSITE ARE COPYRIGHT OF THEIR RESPECTIVE OWNERS. IMAGES MAY NOT BE COPIED, PRINTED, OR REPRODUCED WITHOUT PERMISSION. Specific Fine Art images have been censored. Tanya does not give permission for cloning or of her voice/image, The use of her image or voice to train AI or be used in TTS is strictly prohibited. Any unauthorized use will be prosecuted.
PLEASE DIRECT PROFESSIONAL INQUIRIES TO TANYA'S REPRESENTATION.
INSTEAD OF A MOBILE DEVICE, PLEASE USE A PROPER WEB BROWSER FOR AN OPTIMAL BROWSING EXPERIENCE. THANK YOU!
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As a teacher, I live for the days when an actor walks into my improv class. After the A View from the Bridge scene, I knew (and everybody knew), that you were a damn fine actor - clear, vulnerable, intense. Adding all this improv stuff on that is a piece of cake. ...Your acting chops are evident each time you jump to relationship. ... I've also enjoyed the way you trust your gut and make a bold choice.
Chelsea Hilend
(Improvisation Instructor • SAK Comedy Lab)
(Improvisation Instructor • SAK Comedy Lab)
Improvisation Instructor
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I have known few actors in my 30+ years in Entertainment as dedicated, smart, and as deep-feeling as Tanya. She's as real as it gets in a business and craft where too often "real" is just a buzzword, and is something (ironically) to be acted superficially. She is gifted, kind, and would be a major addition to anyone's line-up.
Richard Tatum
(Voice-Over Instructor • Absolute Voiceover LA)
(Voice-Over Instructor • Absolute Voiceover LA)
Voice-Over Instructor
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Working with Tanya was easy for several reasons; her innate talent, her professionalism, and her razor sharp instincts which allow her to take words on a page and turn them into a fully realized person. 10/10 would work with her again.
Mike Carr
(Director • Rijksmuseum)
(Director • Rijksmuseum)
Director
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I was very fortunate to see Tanya Wheelock playing the role of Abby in a performance of my play, Rijksmuseum. What a treat! Tanya is such a gifted actor. The audience loved her. I will be delighted if I see her cast in one of my plays again.
W.L. Newkirk
(Playwright • Rijksmuseum)
(Playwright • Rijksmuseum)
Playwright
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I can highly recommend working with Tanya to everyone who needs professional approach, fast response time, excellent quality recordings and great atmosphere of cooperation. Despite our specific requirements, Tanya managed to meet the challenge. Would welcome working with Tanya anytime. It was a pleasure for our team.
Nina Czarny
(Casting Director • Frozen Way S.A.)
(Casting Director • Frozen Way S.A.)
Casting Director
/ Frozen Way S.A,
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I added Tanya to my cast for the Potchki Audio Chronicles and she has been a sheer joy to work with. She is quick on her reads and a fantastic actress.
Eric Horowitz
(Creator/Producer/Writer • The Potchki Audio Chronicles)
(Creator/Producer/Writer • The Potchki Audio Chronicles)
Creator, Producer, Writer
/ The Potchki Audio Chronicles
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I have known and worked with Tanya on several projects through the years, and she is always a delight! She’s professional, kind, knowledgeable, hard-working, talented, and a blast to work with!
Taylor Tutt
(Cast-Mate • Universal Orlando Resort / Pirates Dinner Adventure / Et Al)
(Cast-Mate • Universal Orlando Resort / Pirates Dinner Adventure / Et Al)
Cast-Mate
/ Universal Orlando ResorT & More
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Tanya is one of the most dedicated actors I’ve ever worked with. Commitment to the character, to ensuring the integrity of beloved stories is maintained, and to delivering unforgettable performances is unmatched. Tanya puts her heart and soul into her work both on and off stage and it’s obvious to anyone who works with her.
Evan Gutiérrez-Faciane
(Assistant Stage Manager • Universal Orlando Resort)
(Assistant Stage Manager • Universal Orlando Resort)
Assistant Stage Manager
/ Universal Orlando Resort
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Tanya was an outstanding student, actress and friend to her colleagues.... always hardworking, creative and dependable.
Lenny Bart
(Acting Instructor • 12 Miles West)
(Acting Instructor • 12 Miles West)
Acting Instructor
/ 12 Miles West
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When Rob Palmer and I were looking for an additional female voice for our scripted comedy podcast, The Potchki Audio Chronicles, we stumbled upon Tanya. I heard her animation demo and was instantly stunned by her versatility. When casting, I look for someone who can be a chameleon with their voice. I need one person to fill a few different roles in each episode. She has come through for us in just that way. Tanya is also very timely with getting her lines recorded and extremely easy to work with. If we need something rerecorded or pick-ups, she sends it right away.
Eric Horowitz
(Creator/Producer/Writer • The Potchki Audio Chronicles)
(Creator/Producer/Writer • The Potchki Audio Chronicles)
Creator, Producer, Writer
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Tanya, You are so gifted and such a joy to work with! The work ethic you bring is always 115%. We loved having you be a part of the What If...? animated show for Marvel!
Melissa Encinas
(Cast & Recording Supervisor • What If...?, Marvel Studios)
(Cast & Recording Supervisor • What If...?, Marvel Studios)
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