Acting and performance programs are shifting to respond to the variety of professional areas they serve. In this article, the authors discuss their integrative practice actor training based in ‘groundwork’. While attempting to address a global demand for greater intercultural exchange and new technologies, how do Australian acting institutions move forward and provide students with relevant, contemporary training methods that respond to these demands? While original methods like Frederick Alexander’s technique have found their place internationally during the 20th Century, it is foreign methodologies that dominate Australian actor training institutions. Robert Lewis, Dominique Sweeney and Samantha Dowdeswell embrace Australian voices, bodies, imaginations and creativity in the Charles Sturt University Acting and Performance course. Wiradjuri elders, as advisors in appreciating country, provide the foundation to develop an integrative pedagogy we are developing fusing non-Western practices like the Suzuki Method of Actor Training (SMAT) with original training aesthetics. Traditional Aboriginal theatre practitioners of the northwest of Australia refer to the gut as the connection to country. In actor training gut-like intelligence, centre or core, is regularly used when training performers to be present and responsive to the text, action and acting partners. The pathway to connect to country, through stomping or shuffling feet, is part of Aboriginal and Tadashi Suzuki’s training, where the significance placed on the ‘centre’, and where the core plays an integral part of connecting self to place. The integrative actor training program at Charles Sturt University gives actors power and ownership of their work located in place. In this article, we discuss how our diverse backgrounds use ‘groundwork’ to anchor actors in an ever-changing world. Integrative practices looks to a conversation developing a synergy between the complementary and contradictory ideas in fluctuating and constant traditions; ancient and contemporary systems as we are grounded in country.

表演和表演项目正在转变，以应对他们所服务的各种专业领域。在本文中，作者讨论了他们基于“基础”的综合实践演员培训。在试图满足全球对更多跨文化交流和新技术的需求的同时，澳大利亚表演机构如何向前发展并为学生提供相关的、现代的培训方法来满足这些需求？虽然像弗雷德里克·亚历山大 (Frederick Alexander) 的技术这样的原创方法在 20 世纪已经在国际上占有一席之地，但主导澳大利亚演员培训机构的是外国方法。罗伯特·刘易斯、多米尼克·斯威尼和萨曼莎·道德斯韦尔在查尔斯特大学的表演和表演课程中拥抱澳大利亚人的声音、身体、想象力和创造力。Wiradjuri 长老作为欣赏国的顾问，为我们正在开发的融合非西方实践（如铃木演员培训方法 (SMAT)）与原始培训美学相融合的综合教学法奠定了基础。澳大利亚西北部的传统土著戏剧从业者将肠道称为与国家的联系。在演员训练中，在训练表演者在场并对文本、动作和表演伙伴做出反应时，经常使用像直觉一样的智力，中心或核心。通过跺脚或拖着脚连接到国家的途径是原住民和铃木忠的训练的一部分，其中的重要性放在“中心”上，核心在将自我与地方联系起来的过程中起着不可或缺的作用。查尔斯特大学的综合演员培训计划赋予演员权力和对其工作的所有权。在本文中，我们将讨论我们不同的背景如何使用“基础工作”在不断变化的世界中锚定演员。综合实践着眼于在不断变化的传统中发展互补和矛盾思想之间的协同作用的对话；古代和现代系统，因为我们扎根于国家。