ABSTRACT This article traces the approaches to actor training offered in Australia based on the training backgrounds of influential teachers. The research for this article finds international connections that reveal strong links to approaches originating with Konstantin Stanislavski and Bertolt Brecht. It seeks to understand with whom a teacher studied to explain what was probably learnt and therefore the type of training knowledge that the teacher is likely to pass on to students. The research confirms that international approaches are fundamental to performance training in tertiary conservatorium courses, and the profiles of nine teachers are presented in detail to encapsulate patterns of training and to show the complex nexus of influences and international approaches. The profiles indicate an increasing influence of American approaches in the second half of the twentieth century alongside British ones, but that British influences remain important for European approaches and for political theatre in particular into the twenty-first century. We argue that even where there was a synthesis happening in the teaching of performance in Australia, the influences of major international approaches are identifiable through the training backgrounds of teachers. In this way, it is possible to locate teachers in Australia within actor training internationally.

中文翻译：

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澳大利亚演员培训的国际联系：追踪斯坦尼斯拉夫斯基的制度和布莱希特政治

摘要 本文根据有影响力的教师的培训背景，追溯了澳大利亚提供的演员培训方法。本文的研究发现了国际联系，这些联系揭示了与源自康斯坦丁·斯坦尼斯拉夫斯基和贝托尔特·布莱希特的方法的密切联系。它试图了解教师与谁一起学习，以解释可能学到的内容，从而解释教师可能传授给学生的培训知识类型。研究证实，国际方法是高等音乐学院课程表演培训的基础，并详细介绍了 9 位教师的简介，以概括培训模式并展示影响和国际方法的复杂关系。这些概况表明，美国方法在 20 世纪下半叶与英国方法的影响越来越大，但英国的影响对于欧洲方法和政治戏剧尤其是进入 21 世纪仍然很重要。我们认为，即使在澳大利亚的表演教学中发生了综合，主要国际方法的影响也可以通过教师的培训背景来识别。通过这种方式，可以在国际演员培训中找到澳大利亚的教师。我们认为，即使在澳大利亚的表演教学中发生了综合，主要国际方法的影响也可以通过教师的培训背景来识别。通过这种方式，可以在国际演员培训中找到澳大利亚的教师。我们认为，即使在澳大利亚的表演教学中发生了综合，主要国际方法的影响也可以通过教师的培训背景来识别。通过这种方式，可以在国际演员培训中找到澳大利亚的教师。