It is early May, 2020. The eight weeks between finalising the editing of this special issue on “Training for performance art and live art” in mid-March and writing this introduction have been the most extraordinary period of my life, likely of anyone’s life. When I submitted the last batch of edits to the publishers, I had just completed another full week of teaching, having worked with my theatre students as usual faceto-face in seminar rooms, lecture theatres and studios. Three days later, we all found ourselves confined to our homes as the UK went into lockdown to join the near-global domestic sheltering, from which we have yet to emerge. I, alongside lecturers, teachers, instructors and trainers all over the world, have had to move my teaching online and am now connecting with my students via video conferencing platforms and virtual discussion boards, trying to reach across our physical remoteness with the kind of detached proximity that digital technology is so adept at simulating. Among the many areas of life that have been thrown into crisis by the COVID-19 pandemic – health and public health provision, our economic system, the organisation of our social and political life – is also teaching and training; and possibly nowhere is this more evident than in performance. The issue is not that it is impossible to deliver training in and teaching of performance knowledges remotely. Difficult, yes, but not impossible. We can still foster conceptual imagination and critical thinking when we guide students through online tasks and prompts; we can still encourage collaboration facilitated by virtual meeting spaces; we can still be there to answer questions and clarify misunderstandings by way of emails or chatrooms; and we can still connect face-toface, even if our faces are now neatly lined up in small windows on the screens in front of us. As Jonathan Pitches reminded us in a recent posting on the Theatre, Dance and Performance Training blog (Pitches 2020), even aspects of embodied learning and training in performance can be delivered online – the success of Pitches’ own groundbreaking MOOC (Massive Open Online Course), ‘Exploring Physical Theatre’, for FutureLearn is confirmation of this (Pitches n.d.). Unequal access to technologies certainly is a major problem; but in-person teaching too is marked by access inequalities of various kinds. The crisis of performance training and teaching may be less to do with actual pedagogical practices and the challenges of moving them into online spaces and, eventually, back into real spaces under social-distancing rules. Rather, it concerns the profound way in which it affects the discourses that have underwritten these practices. In another recent TDPT blog post that reflects on the impact of the current pandemic on our field, Felipe Cervera suggests as much: ‘The actual crisis that we face’ he proposes, ‘[... ] is a crisis in the foundational arguments that dance, theatre, and performance made to academia in their fight

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表演艺术和现场艺术培训

现在是 2020 年 5 月上旬。 从 3 月中旬完成本期“行为艺术和现场艺术培训”特刊的编辑到撰写此介绍的八周时间，是我一生中最不平凡的时期，可能是任何人一生中最不平凡的时期. 当我向出版商提交最后一批编辑时，我刚刚又完成了整整一周的教学，像往常一样与我的戏剧学生在研讨室、演讲厅和工作室面对面工作。三天后，当英国进入封锁状态以加入我们尚未摆脱的近乎全球的家庭庇护所时，我们都发现自己被限制在自己的家中。我与世界各地的讲师、教师、讲师和培训师一起，不得不将我的教学转移到网上，现在我通过视频会议平台和虚拟讨论板与我的学生联系，试图以数字技术非常擅长模拟的那种超然的接近度来跨越我们的物理偏远地区。在因 COVID-19 大流行而陷入危机的许多生活领域中——健康和公共卫生供应、我们的经济体系、社会和政治生活的组织——也在教学和培训；可能没有什么地方比性能更明显了。问题不在于不可能远程提供表演知识的培训和教学。困难，是的，但并非不可能。当我们引导学生完成在线任务和提示时，我们仍然可以培养概念想象力和批判性思维；我们仍然可以鼓励通过虚拟会议空间促进协作；我们仍然可以通过电子邮件或聊天室回答问题并澄清误解；我们仍然可以面对面地连接，即使我们的脸现在整齐地排列在我们面前屏幕上的小窗口中。正如 Jonathan Pitches 在最近在 Theatre, Dance and Performance Training 博客（Pitches 2020）上的一篇文章中提醒我们的那样，即使是表演方面的具体学习和培训也可以在线提供——Pitches 自己开创性的 MOOC（大规模开放在线课程）的成功），“探索物理剧院”，FutureLearn 证实了这一点（Pitches nd）。获取技术的不平等当然是一个主要问题；但面对面教学也存在各种机会不平等。表演培训和教学的危机可能与实际的教学实践以及将它们转移到在线空间并最终在社会疏远规则下回到现实空间的挑战无关。相反，它涉及它影响支持这些实践的话语的深刻方式。在最近的另一篇 TDPT 博客文章中，该文章反映了当前流行病对我们领域的影响，Felipe Cervera 提出了同样的建议：“我们面临的实际危机”他提出，“[...] 是基本论点中的危机在他们的战斗中为学术界提供的舞蹈、戏剧和表演 它涉及它以何种深刻方式影响支持这些做法的话语。在最近的另一篇 TDPT 博客文章中，该文章反映了当前流行病对我们领域的影响，Felipe Cervera 提出了同样的建议：“我们面临的实际危机”他提出，“[...] 是基本论点中的危机在他们的战斗中为学术界提供的舞蹈、戏剧和表演 它涉及它以何种深刻方式影响支持这些做法的话语。在最近的另一篇 TDPT 博客文章中，该文章反映了当前流行病对我们领域的影响，Felipe Cervera 提出了同样的建议：“我们面临的实际危机”他提出，“[...] 是基本论点中的危机在他们的战斗中为学术界提供的舞蹈、戏剧和表演