(2021). Editorial. Theatre, Dance and Performance Training: Vol. 12, Independent Dance and Movement Training, pp. 137-142.

(2021). The Companionship Scores. Theatre, Dance and Performance Training: Vol. 12, Independent Dance and Movement Training, pp. 143-148.

This article discusses the pedagogic practice of British choreographer Rosemary Butcher (1947–2016) with a particular focus on the ways she mentored dancers and choreographers as part of her self-curated workshop series Critical Pathways, programmed over a number of years at Independent Dance in London. Drawing on archive materials, personal research notes as well as practitioner interviews, the article

Taking an ethnographic turn, this paper does not offer any definitive contemporary solutions towards decolonising dance teaching and training practices in South African but offers instead, as the title suggests, ruminations on an embodied and personal dance journey that reflects on two distinct pedagogical arenas; the first is a need to re-evaluate and assess the viability of chosen dance training

(2021). Tik Tok and generation Z. Theatre, Dance and Performance Training: Vol. 12, Independent Dance and Movement Training, pp. 198-204.

This article foregrounds the various modalities in which a South Indian feminine dance form, Mohiniyattam is taught and performed, and underscores its metamorphosis from an erotic practice to a significant art form. It traces the paradigm shift that Mohiniyattam underwent from its purist-traditionalist form to the present phase and the pedagogic changes that such a shift necessitated.

(2021). Standing. Theatre, Dance and Performance Training: Vol. 12, Independent Dance and Movement Training, pp. 218-219.

(2021). Getting into your head: social distancing and the intimacy of audio-only movement sessions on earpods. Theatre, Dance and Performance Training: Vol. 12, Independent Dance and Movement Training, pp. 220-220.

(2021). .Behind from Appears Noticing. Theatre, Dance and Performance Training: Vol. 12, Independent Dance and Movement Training, pp. 221-221.

(2021). Post card from an insider artist. Theatre, Dance and Performance Training: Vol. 12, Independent Dance and Movement Training, pp. 222-223.

(2021). Journeying towards multitudinous bodies: working with body weather practices through the creation of Into the Mountain. Theatre, Dance and Performance Training: Vol. 12, Independent Dance and Movement Training, pp. 224-232.

This article, written from inside the practice, is intended to offer an insight into the Walk of Life Training in Non-stylised and Environmental Movement. It commences with the antecedents of the programme. The structure, intention and underlying principles of this practitioner-level training in movement practice (rather than performance or teaching) are elucidated. The training is grounded in an experiential

Diane Alison-Mitchell and the dance artist known as Paradigmz started their careers in the 1990s. They went on to become accomplished dance artists. Between 1993 and 2003 the independent dance sector expanded in terms of activity yet there was very little training in Higher Education for a career as a dance artist in the Dance of the African Diaspora (DAD) as a sector. Furthermore, the administrative

(2021). Holding the edge: between embodied trauma and choreographic learning. Theatre, Dance and Performance Training: Vol. 12, Independent Dance and Movement Training, pp. 266-271.

Three movement practitioners, Niamh Dowling, Miranda Tufnell and Lucia Walker, colleagues for over thirty-five years, come together to find ways to articulate how their individual practices have been informed by the common roots in their training as teachers of Alexander Technique. Each of them charts their unique journey in the application of this body of somatic work to create a range of pathways

(2021). Locator. Theatre, Dance and Performance Training: Vol. 12, Independent Dance and Movement Training, pp. 285-295.

(2021). Social (distance) dancing during covid with project trans(m)it. Theatre, Dance and Performance Training: Vol. 12, Independent Dance and Movement Training, pp. 296-304.

(2021). Nancy Stark Smith February 11, 1952 – May 1, 2020. Dancer, Teacher, Writer, Curator, Editor, Phenomenon. Theatre, Dance and Performance Training: Vol. 12, Independent Dance and Movement Training, pp. 305-308.

Over the last decade, there has been an emergence of artist-led networks and collectives that reveals the importance of solidarity, activism and belonging. In today’s contemporary society, the term ‘network’ denotes the building of a local community (which could be physical or online). This article will explore some of these networks and collectives and their function for the communities they serve

In the last decade, disability has come to be regarded as a new aesthetic value (Siebers 2010), a representative view often relying on visible difference to construct disability as an identity category, overlooking performers for whom chronic illness creates invisible disability. Despite advances in inclusive practice, the liminality of chronic illness through unpredictable and fluctuating influence

The recent massive expansion of circus training spaces required a renewal of pedagogical approaches for serving a varied audience, with little or no previous experience with circus practice. This research describes an integrative methodology of introduction to circus training based on creativity and education on physical expression. One objective was to create an alternative to skills acquisition-based

(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,...

(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