ABSTRACT This is the second of a four-part series of interrelated articles discussing the pedagogical, ideological, and sociological functions of the audition process in drama school training. This article addresses the “callback” audition experience via the analytical framework of Actor Network Theory and with special reference to the construction of self-identities. In our work, we recognize that the canonical techniques of actor training associated with Stanislavski’s own practice and writings have resulted in a paradigm within the audition/callback process which, arguably, predominates within UK drama school training. This article makes some findings regarding the impact of this legacy upon callback audition “networks” and the actors within them. Taking its cue from the analysis of significant events of the audition process for the undergraduate Acting programme at the newly formed Plymouth Conservatoire – a drama school run jointly by Theatre Royal Plymouth and Plymouth University, the second article in the series investigates that dominant paradigm, aiming to offer an insight into the generic audition process in other HE institutions. As such, all papers in this series draw upon the authors’ own experience auditioning candidates for Plymouth Conservatoire, and for other drama schools, both in the UK and abroad, so as to uncover the various pedagogic, ideological, and sociological functions of auditioning for training. This article, however, focuses on the personal experience of a single drama school candidate – N – and their experience of callback at three different drama schools.

中文翻译：

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试镜和…

摘要 这是一系列由四部分组成的相关文章中的第二部分，这些文章讨论了戏剧学校培训中试镜过程的教学、意识形态和社会学功能。本文通过演员网络理论的分析框架，并特别参考自我身份的构建来解决“回调”试听体验。在我们的工作中，我们认识到与斯坦尼斯拉夫斯基自己的实践和作品相关的演员培训的规范技术已经在试镜/回访过程中产生了一种范式，可以说，这种范式在英国戏剧学校的培训中占主导地位。本文就这一遗产对回调试听“网络”及其中的参与者的影响进行了一些调查。从对新成立的普利茅斯音乐学院（一所由普利茅斯皇家剧院和普利茅斯大学联合运营的戏剧学校）​​本科表演项目试镜过程中的重大事件的分析中得出的线索，该系列的第二篇文章调查了这一主导范式，旨在深入了解其他高等教育机构的一般试镜过程。因此，本系列中的所有论文都借鉴了作者自己为普利茅斯音乐学院以及英国和国外其他戏剧学校试镜候选人的经验，以揭示试镜的各种教学、意识形态和社会学功能。训练。然而，这篇文章侧重于单个戏剧学校候选人 N 的个人经历以及他们在三个不同戏剧学校的回调经历。