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Editorial Theatre, Dance and Performance Training Pub Date : 2021-03-12 Libby Worth, Jonathan Pitches, Chris Hay, Aiden Condron
(2021). Editorial. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 1-4.
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Peter Hulton and arts archives – an appreciation Theatre, Dance and Performance Training Pub Date : 2021-03-12 Dick McCaw
(2021). Peter Hulton and arts archives – an appreciation. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 40-44.
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Training and… masks Theatre, Dance and Performance Training Pub Date : 2021-03-12 Vicky Wright
(2021). Training and… masks. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 74-75.
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Training and… masks Theatre, Dance and Performance Training Pub Date : 2021-03-12 John Wright
(2021). Training and… masks. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 76-76.
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Charging Theatre, Dance and Performance Training Pub Date : 2021-03-12 Cheryl Stapleton
(2021). Charging. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 77-77.
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Training and… masks Theatre, Dance and Performance Training Pub Date : 2021-03-12 Thomas Wilson
(2021). Training and… masks. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 78-79.
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Michael Chekhov and Sanford Meisner: Collisions and Convergence in Actor Training Theatre, Dance and Performance Training Pub Date : 2021-03-12 Josephine Christensen
(2021). Michael Chekhov and Sanford Meisner: Collisions and Convergence in Actor Training. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 127-129.
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The Five Continents of Theatre: Facts and Legends about the Material Culture of the Actor Theatre, Dance and Performance Training Pub Date : 2021-03-12 Rachel Karafistan
(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.
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The Life of Training Theatre, Dance and Performance Training Pub Date : 2021-03-12 Kevin Skelton
(2021). The Life of Training. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 131-133.
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Unrehearsed Futures: A series of public conversations on theatre pedagogy hosted by Drama School Mumbai Theatre, Dance and Performance Training Pub Date : 2021-03-12 Jehan Manekshaw, (with contributions from Phalguni Vittal Rao)
(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.
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The Corridors exercise: a Michael Chekhov-based approach to discovering, experiencing, and embodying Given Circumstances and character biography Theatre, Dance and Performance Training Pub Date : 2021-02-22 Fabio Polanco, Lionel Walsh
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
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Opening pathways to training for young disabled dancers: an action research approach Theatre, Dance and Performance Training Pub Date : 2021-02-19 Imogen Aujla
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
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Flipping the creative conservatoire classroom Theatre, Dance and Performance Training Pub Date : 2021-02-19 Anna McNamara
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
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Editorial: dedicated to the memory of Alison Hodge (1959–2019) Theatre, Dance and Performance Training Pub Date : 2020-12-16 Jonathan Pitches, Libby Worth, Thomas Wilson, Roanna Mitchell
(2020). Editorial: dedicated to the memory of Alison Hodge (1959–2019) Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 411-414.
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Joy is the way Theatre, Dance and Performance Training Pub Date : 2020-12-16 Dana Blackstone
(2020). Joy is the way. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 432-433.
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Waiting is a limitation Theatre, Dance and Performance Training Pub Date : 2020-12-16 Ingrid Mackinnon
(2020). Waiting is a limitation. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 453-453.
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It only takes a spark… Theatre, Dance and Performance Training Pub Date : 2020-12-16 Jo Ronan
(2020). It only takes a spark… Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 468-468.
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The spark and the journey Theatre, Dance and Performance Training Pub Date : 2020-12-16 Diana Serbanescu
(2020). The spark and the journey. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 469-469.
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Kitchen contemporary dance classes in times of COVID-19, Dance Objects (DO): Dancing the onion Theatre, Dance and Performance Training Pub Date : 2020-12-16 Michelle Man
(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.
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To (take a) Stand Theatre, Dance and Performance Training Pub Date : 2020-12-16 Tina Carter
(2020). To (take a) Stand. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 498-498.
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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 Pub Date : 2020-12-16 Simon Murray, Mark Evans
(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.
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Twists, turns and a loose web of contradictory truths Theatre, Dance and Performance Training Pub Date : 2020-12-16 Karen Christopher
(2020). Twists, turns and a loose web of contradictory truths. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 520-521.
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Drawing as part of a performance practice Theatre, Dance and Performance Training Pub Date : 2020-12-16 Chris Crickmay
(2020). Drawing as part of a performance practice. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 522-523.
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Theatre of the everyday – a way of going for a walk Theatre, Dance and Performance Training Pub Date : 2020-12-16 Chris Crickmay
(2020). Theatre of the everyday – a way of going for a walk. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 524-525.
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That, there, then…Now Theatre, Dance and Performance Training Pub Date : 2020-12-16 Aiden Condron, Elena Benedettini
(2020). That, there, then…Now. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. 526-527.
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Strategies for Neurodiversity and Dyslexia in Actor Training: Sensing Shakespeare, by Petronilla Whitfield Theatre, Dance and Performance Training Pub Date : 2020-12-16 Janet Gibson
(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.
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Technology & Performer Training (Online) Hosted by University of South Wales May 18th, 2020 Theatre, Dance and Performance Training Pub Date : 2020-12-16 Denis Cryer-Lennon
(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.
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Decolonising theatre and ensemble training in Aotearoa/New Zealand: Te Rākau Hua o Te Wao Tapu Theatre Theatre, Dance and Performance Training Pub Date : 2020-12-04 Helen Pearse-Otene
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
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Making Site-Specific Theatre and Performance, by Phil Smith Theatre, Dance and Performance Training Pub Date : 2020-12-04 Lawrence Ashford
(2021). Making Site-Specific Theatre and Performance, by Phil Smith. Theatre, Dance and Performance Training: Vol. 12, No. 1, pp. 126-127.
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Embodied exploratory processes in Australian performance training and international influences Theatre, Dance and Performance Training Pub Date : 2020-12-02 Melanie Beddie, Peta Tait
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
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Correction Theatre, Dance and Performance Training Pub Date : 2020-11-13
(2020). Correction. Theatre, Dance and Performance Training: Vol. 11, No. 4, pp. I-I.
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Towards planetary performance pedagogy: digital companions in multipolar classrooms Theatre, Dance and Performance Training Pub Date : 2020-11-06 Felipe Cervera, Theron Schmidt, Hannah Schwadron
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:
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“Until I know this sure uncertainty”: actor training and original practices Theatre, Dance and Performance Training Pub Date : 2020-07-21 Chris Hay, Robin Dixon
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
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Ali Hodge – 1959–2019. A luminous presence: directer, trainer, educator, author, coach, friend Theatre, Dance and Performance Training Pub Date : 2020-07-16 Katie Normington
(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.
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Training theatre students of colour in the United States Theatre, Dance and Performance Training Pub Date : 2020-07-02 Kaja Dunn, Sharrell D. Luckett, Daphnie Sicre
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...
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Training ecologies for the actor-creator and Gordon Craig’s School for the Art of the Theatre Theatre, Dance and Performance Training Pub Date : 2020-07-02 Maiya Murphy
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
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Somatic attunement/self-cultivation: Japanese immigration and the performing arts Theatre, Dance and Performance Training Pub Date : 2020-07-02 Barbara Sellers-Young
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
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Modern movements: women’s contributions to the success of Rudolf Laban’s ideas and practice in England 1930–1941 Theatre, Dance and Performance Training Pub Date : 2020-07-02 Michael Huxley, Ramsay Burt
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
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Playing outside the frame: revealing the hidden contributions of the women in the French tradition of actor training Theatre, Dance and Performance Training Pub Date : 2020-07-02 Cass Fleming
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
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If you want to kiss her, kiss her! Gender and queer time in modern Meisner training Theatre, Dance and Performance Training Pub Date : 2020-07-02 Lazlo Pearlman, Deirdre McLaughlin
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
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The heuristic pedagogue: navigating myths and truths in pursuit of an equitable approach to voice training Theatre, Dance and Performance Training Pub Date : 2020-07-02 Daron Oram
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
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Something in the atmosphere? Michael Chekhov, Deirdre Hurst Du Prey, and a web of practices between acting and dance Theatre, Dance and Performance Training Pub Date : 2020-07-02 Roanna Mitchell
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
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The psychological benefits of circus skills training (CST) in schoolchildren Theatre, Dance and Performance Training Pub Date : 2020-06-12 Nick Neave, Angie Johnson, Kathryn Whelan, Karen McKenzie
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
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Embodying unpredictability Theatre, Dance and Performance Training Pub Date : 2020-06-04 Catherine Seago
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
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Body. Breath. Text. Freedom: an investigation of concurrent training in Linklater voice and the Suzuki actor training method Theatre, Dance and Performance Training Pub Date : 2020-05-22 Jo Loth, Rob Pensalfini
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
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‘The Gauntlet’; enacting social transformation through the facilitation of community in ensemble actor training Theatre, Dance and Performance Training Pub Date : 2020-05-13 Dana Blackstone
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
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Body awareness in acting – a case study of TRE as a supporting tool for drama students’ personal and professional development Theatre, Dance and Performance Training Pub Date : 2020-04-28 Cathrine Scharff Thommessen, Marit Fougner
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
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Embodying one’s teaching identity – Making the tacit explicit Theatre, Dance and Performance Training Pub Date : 2020-04-03 Sherrie Barr
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
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Reviews Theatre, Dance and Performance Training Pub Date : 2020-04-02 Campbell Edinborough
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
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Training for live art: process pedagogies and New Moves International’s Winter Schools Theatre, Dance and Performance Training Pub Date : 2020-04-02 Stephen Greer
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
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Training to be me Theatre, Dance and Performance Training Pub Date : 2020-04-02 Will Dickie
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
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Professional development for live artists: doing it yourself Theatre, Dance and Performance Training Pub Date : 2020-04-02 Deirdre Heddon
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
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Training for performance art and live art Theatre, Dance and Performance Training Pub Date : 2020-04-02 Heike Roms
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
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Lessons from outside the classroom: performance pedagogies in Portugal, 1970–1980 Theatre, Dance and Performance Training Pub Date : 2020-04-02 Cláudia Madeira, Fernando Matos Oliveira
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
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‘I’ve been as intimate with him as I have been with anybody’: queer approaches, encounters and exchanges as live art performer training Theatre, Dance and Performance Training Pub Date : 2020-04-02 Kieran Sellars
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
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Curious methods – pedagogy through performance Theatre, Dance and Performance Training Pub Date : 2020-04-02 Leslie Hill, Helen Paris
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
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Letting things rot Theatre, Dance and Performance Training Pub Date : 2020-04-02 N. Eda Erçin
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
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Three stories (from performance art teaching and learning) Theatre, Dance and Performance Training Pub Date : 2020-04-02 Áine Phillips, Dominic Thorpe, Tara Carroll Compiled by Áine Phillips
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
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Without walls: performance art and pedagogy at the ‘Bauhaus of the North’ Theatre, Dance and Performance Training Pub Date : 2020-04-02 Gavin Butt
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
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Sustaining dancer wellbeing through independent professional dance careers Theatre, Dance and Performance Training Pub Date : 2020-04-01 Luke S. Hopper, Peta Blevins, Shona Erskine, Danica Hendry, Raewyn Hill, Richard Longbottom
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
Contents have been reproduced by permission of the publishers.