This article provides a brief overview of the Nobbs Suzuki Praxis (NSP), an Australian variant of the Suzuki Method of Actor Training (SMAT) developed by John Nobbs in collaboration with Jacqui Carroll from the mid-1990s onwards. After a brief introduction to SMAT and the context in which NSP evolved from it, the article outlines NSP’s key differences in exercise practice and design, particularly in the use of signature physical and vocal tools, and the increased use of structured improvisation within NSP formats. It goes on to examine two concepts specific to NSP – ‘feeling’ and ‘opposites and paradox’ – and outlines how these enable advanced engagement with the training, especially the cultivation of a heightened awareness of self and the performance environment. The article concludes (with reference to Crothers Citation2021, 36) by suggesting that NSP adds softness to and is a more playful version of SMAT. By providing room for invention and creativity, NSP embeds creative application of SMAT’s principles within the training itself, rather than seeing it as part of a separate rehearsal process.

本文简要概述了 Nobbs Suzuki Praxis (NSP)，它是 John Nobbs 从 1990 年代中期开始与 Jacqui Carroll 合作开发的铃木演员训练法 (SMAT) 的澳大利亚变体。在简要介绍了 SMAT 和 NSP 从它演变而来的背景之后，本文概述了 NSP 在练习实践和设计方面的主要差异，特别是在使用标志性的物理和声乐工具方面，以及在 NSP 格式中增加使用结构化即兴创作。它继续研究 NSP 特有的两个概念——“感觉”和“对立面和悖论”——并概述了这些概念如何促进高级参与培训，尤其是培养对自我和绩效环境的高度认识。文章结语（参考Crothers Citation2021 , 36) 通过暗示 NSP 增加了 SMAT 的柔软度并且是一个更有趣的 SMAT 版本。通过为发明和创造力提供空间，NSP 将 SMAT 原则的创造性应用嵌入到培训本身中，而不是将其视为单独排练过程的一部分。