Discussion on the role of listening in actor training is limited. Compared with studies on ear training for conservatoire music students, there is a gap in the literature regarding the ways in which student actors acquire and improve listening skills. This paper investigates the musicality inherent in Meisner Technique, an approach to actor training, and points to intersections with ear training in Dalcroze Eurhythmics, an approach to music education. It analyses the common ground between these pedagogical practices, drawing on sources from a variety of domains in which listening is foregrounded. It asserts that Meisner Technique and Dalcroze Eurhythmics promote similar forms of responsive, interpretative, and collaborative listening skills. This paper is written from the author’s interdisciplinary perspective as a teacher of acting and music at a university conservatoire. It offers insight into practical training through a personal, philosophical lens. Its themes are transferable to actor trainers and music educators engaged in continuing professional development.

关于听力在演员训练中的作用的讨论是有限的。与音乐学院音乐专业学生听力训练的研究相比，关于学生演员如何获得和提高听力技能的文献存在差距。本文研究了 Meisner Technique 固有的音乐性，这是一种演员训练方法，并指出了与 Dalcroze Eurhythmics 中听力训练的交叉点，这是一种音乐教育方法。它分析了这些教学实践之间的共同点，借鉴了以听力为重点的各种领域的资源。它断言，迈斯纳技巧和达尔克罗兹韵律促进了类似形式的响应、解释和协作听力技巧。这篇论文是作者作为一名大学音乐学院的表演和音乐教师，从跨学科的角度写成的。它通过个人的哲学视角提供了对实践培训的洞察力。它的主题可以转移到从事持续专业发展的演员培训师和音乐教育者。