(2021). Editorial. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 1-4.

(2021). Peter Hulton and arts archives – an appreciation. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 40-44.

(2021). Training and… masks. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 74-75.

(2021). Training and… masks. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 76-76.

(2021). Charging. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 77-77.

(2021). Training and… masks. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 78-79.

(2021). Michael Chekhov and Sanford Meisner: Collisions and Convergence in Actor Training. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 127-129.

(2021). The Five Continents of Theatre: Facts and Legends about the Material Culture of the Actor. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 129-131.

(2021). The Life of Training. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 131-133.

(2021). Unrehearsed Futures: A series of public conversations on theatre pedagogy hosted by Drama School Mumbai. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 134-136.

Slava Kokorin, 2009 winner of the Stanislavski Prize for ‘Best Theatre Pedagogue’, worked with the Michael Chekhov technique for more than three decades. One of Kokorin’s contributions was the development of a Chekhov-based exercise called ‘Corridors’. Corridors is grounded in the principles of psychophysical experience and the actor’s imagination. Through the images born from the Corridors exercise

There are numerous barriers to dance for disabled people but one which has received increasing attention in recent years is the lack of systematic training available. The aim of this project was to explore how private dance studio syllabi could be made more accessible for young disabled people, in order to open pathways to dance. Three private studio teachers were matched with three specialists in

This research proposes a pedagogic practice to increase dynamic independent student participation and engagement through the lens of the flipped classroom, promoting the understanding of learning as a cyclical process of the Revised Bloom’s Taxonomy. With recommendations that may support hybrid delivery of actor training delivered both face to face and via online platforms, this paper considers the

(2020). Editorial: dedicated to the memory of Alison Hodge (1959–2019) Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 411-414.

(2020). Joy is the way. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 432-433.

(2020). Waiting is a limitation. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 453-453.

(2020). It only takes a spark… Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 468-468.

(2020). The spark and the journey. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 469-469.

(2020). Kitchen contemporary dance classes in times of COVID-19, Dance Objects (DO): Dancing the onion. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 487-487.

(2020). To (take a) Stand. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 498-498.

(2020). PLAY, COMPLICITÉ, DISPONIBILITÉ: a dialogue between Mark Evans (ME) and Simon Murray (SM) at the National Theatre in London, November 2018. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 515-518.

(2020). Twists, turns and a loose web of contradictory truths. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 520-521.

(2020). Drawing as part of a performance practice. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 522-523.

(2020). Theatre of the everyday – a way of going for a walk. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 524-525.

(2020). That, there, then…Now. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 526-527.

(2020). Strategies for Neurodiversity and Dyslexia in Actor Training: Sensing Shakespeare, by Petronilla Whitfield. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 528-530.

(2020). Technology & Performer Training (Online) Hosted by University of South Wales May 18th, 2020. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 531-533.

This article discusses the work of Māori theatre company Te Rākau Hua o Te Wao Tapu, and its approach to decolonising theatre in Aotearoa/New Zealand through its Theatre Marae programme. First, I locate the establishment of Te Rākau and Theatre Marae as a response to Māori being excluded from mainstream theatre, then present a summary of Te Rākau’s contribution to the development of contemporary Māori

(2021). Making Site-Specific Theatre and Performance, by Phil Smith. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 126-127.

While Australian training of performers generally reflects the dominant international processes, it also includes exploratory training that encourages innovative ways of working. This article considers the alignment of training in Australian conservatorium tertiary courses with the teaching of approaches to encourage responses ‘in the moment’, and spontaneity and physicality in the training of the

(2020). Correction. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. I-I.

This article proposes ‘planetary performance pedagogy’ as a theoretical and practical framework for spatially and temporally distributed teaching and training in higher education, combining remote and experiential modes of interaction to facilitate an awareness of multiple planetary perspectives. Our argument deploys the creative potential of several concepts that we develop within this framework:

In April 2017 we worked with a small group of trained actors at the University of Sydney on a project examining emotion and spatial dramaturgy in Shakespeare’s The Comedy of Errors. Where possible, elements of original practices were applied in rehearsals for this project; in particular, working in ‘parts’ and without a central directorial figure exercising creative authority over the process. Strikingly

(2020). Ali Hodge – 1959–2019. A luminous presence: directer, trainer, educator, author, coach, friend. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 534-537.

Kaja Dunn, Sharrell D. Luckett, and Daphnie Sicre are US theatre professors whose current research investigates underrepresented ways of training theatre students. Specifically, their work advocate...

This article addresses the collaborative nature of twentieth-century European actor training in two ways: first, by using the framework of cognitive ecologies to see actor training as a vast and dynamic network of practices beyond single lineages, and second by using a short-lived theatre school as a case study to unearth forgotten transmissions and contributions. The framework of cognitive ecologies

Contemporary theorists, Schechner, Fisher-Lichte, Bharucha, Holledge and Tompkins and others, have written extensively on the global discourse of intercultural performance and its attempt to intermingle such cultural traditions as the textual borrowing of Peter Brook’s Mahabharata or Tadashi Suzuki’s Trojan Women, the integration of physical styles of Ariane Mnouchkine and the conscious cultural negotiations

This article reconsiders the significant contributions made by women who worked in England during the 1930s and developed modern dance and movement as performers and teachers. Laban’s arrival in 1938 built on a series of ideas, practices, events, and relationships that were to have far reaching consequences and which left a legacy where it is Laban’s name that is canonical. These dancers and teachers

This article explores the seminal work of Suzanne Bing. It considers her close collaborations with three other women: Margaret Naumburg, Marie-Hélène Dasté and Jessmin Howarth. To reveal this network of women an alternative form of historiography is developed which dismantles the patriarchal ‘Master Teacher’ narrative of the French lineage of actor training from Jacques Copeau, Michel Saint-Denis and

Responses to creating trainings for LGBTQ + and other marginalized student groups tend either toward rejecting acting ‘methods’ as unfit for purpose, or to simply changing pronouns in these trainings and carrying on as before. This article works through an encounter with heteronormative gender ideology in the Meisner technique. It looks at the way the training and the trainer support the normative

This article reflects on a 5-year period of research into equitable approaches to actor training and voice. This reflection is performed as a conversation between two of the author’s voices; the pedagogue that has lived the experiences and the academic that has framed and written about those experiences. The discussion reflects on the challenges of voicing the lived experiences of the researcher within

This article contextualises principles of Chekhov’s technique within convergent developments in dance by bringing into focus the interesting web of connections between Chekhov’s female colleagues – specifically his associate Deirdre Hurst Du Prey – and key pioneers in the field of dance and dance-mime, including Mary Wigman, Isadora Duncan, Martha Graham and Margaret Barr. Their cross-connections broaden

Physical exercise can enhance various aspects of character and education, but children may not engage due to a variety of barriers. Circus Skills Training (CST) is a novel approach to encourage participation in exercise and develop physical literacy. It delivers circus skills in a positive, non-competitive and supportive social atmosphere, making it particularly appealing to those who avoid traditional

This article examines the senses of messiness and unpredictability which I have found within the Cunningham dance technique. It will do this by explicating my lived experience of learning and teaching aspects of a Cunningham-based approach to dance practice. A central question of my research is how a sense of messiness contributes to enable ‘kinaesthetic unpredictability’ in the lived experience of

The Suzuki actor training method and Linklater vocal training techniques are often seen as being completely antithetical. Despite, or perhaps because of, these contrasts, many actor training institutions teach the approaches concurrently. What happens when actor training methods originating from diverse cultural, artistic and philosophical traditions are taught side by side? The challenge of combining

One of the fundamental aspects of actor training is the creation of the ensemble as a ‘community’. In an intersectional feminist actor training, this community is built for the purpose of social transformation; defined by the dissolution of structures designed to suppress; racism, sexism, heterosexist ‘norms’ and other oppressions that marginalise and harm those that self-define in ways outside of

Abstract Tension and Trauma Release Exercises (TRE) is an approach that assists the body in releasing deep muscular patterns of tension originated from stressful and traumatic experiences. This approach is included as a tool in the Method Acting curriculum of the three years Bachelor in Acting at NSKI University College in Norway. In this study, we explore drama students’ experiences with TRE and its

The author uses her own evolution as a dance teacher in higher education for a steppingstone to explore somatics as a pedagogical framework. She begins with examining the entrée of dance in U.S. higher education and how somatic beliefs are embedded within the goals of these early dance programs. As the author reflects on the parameters of somatics through different theoretical lenses, questions emerge

Marina Abramovi c’s Walk Through Walls is as much a superhero origin myth as it is a conventional memoir. It maps a path from the artist’s childhood in Belgrade to her international recognition as the queen of Performance Art, with much of the book spent looking back on Abramovi c’s upbringing and personal life in order to make sense of her work as an artist. The book interweaves stories from Abramovi

New Moves International (NMI)’s Winter School was an annual programme of artist-led courses offering training and development for independent artists and students in tertiary education. Staged in Glasgow, UK, between 2003 and 2011, it emerged from NMI’s commitment under the artistic directorship of Nikki Millican to fostering opportunities that might allow emergent and established practitioners to

It’s 2013, Buzzcut Festival, Glasgow. I am standing in a derelict high street shop with boarded up windows. An audience watches quietly as I open a box and place my Nan’s skirt and cardigan on the floor. I am uneasy. I notice I perform this action with an enforced sense of discovery – trying to convince them I am doing it for the first time. Later that year, I am standing in a studio in Battersea Arts

In 2002, the Live Art Development Agency, in partnership with the Live Art Advisory Network, initiated a London-based pilot project entitled DIY. Conceived at the outset as a professional development scheme run by and for artists, six artist-led projects were selected, with spaces taken up by 51 participants. By 2019, there had been 249 DIY projects led by some 250 artists, in partnership with 75 organisations

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

In the 1970s, Portuguese performance art exhibited itself as a language of experimentation in the local artistic scene with increasing public visibility. This prominence, which led to regular festivals and live events, was, however, not accompanied by any formal education or the integration of performance into the curriculum of art schools. In this article, we argue that the Portuguese approach to

Considering Live Art’s resistance to conventional structures of power and performance practices, this article argues that Live Art affords more egalitarian modes of training to emerge. Focusing specifically on the cross-generational artistic exchange between performance artists, Martin O’Brien and Sheree Rose, it is this article’s contention that it is through peer-mentorship and not a one-directional

This article focuses on the links between performance and pedagogy in the work of artists and scholars Leslie Hill and Helen Paris, co-directors of London based performance company Curious. Hill and Paris often tie the creation of a live performance to the development of performance-making workshops. This article examines three case studies: 1) the ‘Autobiology’ workshops which explore the generative

Rot is associated with loss; loss of shape and solidity; loss of time and vitality; loss of zest and purity. Rot recalls dirt and death. As a part of my PhD research, Virginity as Performance: A practice-based inquiry on (female) embodiment and memory in contemporary Turkey and beyond, I developed a subversive ritual act, both in the studio and at home: letting things rot. In one of the performance

Teaching and learning performance art happened inside and out of Irish art colleges from the mid 1970s when performance art ‘arrived’ in Ireland synchronous with a visit and tour of the country by Joseph Beuys. Since then, Irish artists have taught performance art to each other, sharing skills and conceptual approaches to younger generations and emerging practitioners. In the stories below, three Irish

This essay explores a period of education in the early 1970s when performance art briefly flourished under the auspices of a libertarian approach to art pedagogy. Charting developments at Leeds College of Art and Leeds Polytechnic from the 1950s to the 1970s, I analyse how the teaching of Basic Research mingled influences from the Bauhaus and elements of sixties counterculture to create an exceptional

Dancers dedicate their lives to their art. The lucky few dancers who reach professional careers, must navigate a casualised industry, balance financial pressures and maintain performance fitness. This research aimed to provide practical considerations for dancers to support their health and wellbeing through independent, professional dance careers. Dancers from Australian contemporary dance company