Lower extremities (LE) play a fundamental role in ballet technique, yet they are not often assessed as thoroughly as other areas of the body in the youngest pre-professional dancers. The aim of thi...

Published in Research in Dance Education (Vol. 24, No. 4, 2023)

We aimed to examine whether the changes in neuromuscular strength indices and balance affect the gait patterns of five fundamental ballet techniques performed on a single leg after 8-weeks of stren...

The purpose of the research was to explore competitive dancers’ experiences of harm in the dance environment with a focus placed on dancers’ social identities. Limited attention has been given to i...

Pre-professional ballet dancers are at high risk for musculoskeletal injuries, some of which are not reported and are self-managed by dancers themselves. Understanding the decisions that adolescent...

Published in Dance Chronicle (Vol. 46, No. 3, 2023)

In the present article, the first section recapitulates my ‘figuration’ philosophy of dance, the ‘dancing-with’ interpretive method derived therefrom, and my previous application of figuration to s...

Published in Dance Chronicle (Vol. 46, No. 3, 2023)

Published in Dance Chronicle (Vol. 46, No. 3, 2023)

Published in Dance Chronicle (Vol. 46, No. 3, 2023)

In 1781, ballet master Maximilien Gardel presented La Feste de Mirsa, a sequel to his 1779 ballet en action Mirza. Given the latter’s success, Opéra audiences anticipated another evening of praisew...

Published in Dance Chronicle (Vol. 46, No. 3, 2023)

Published in Dance Chronicle (Vol. 46, No. 3, 2023)

Published in Dance Chronicle (Vol. 46, No. 3, 2023)

Published in Theatre, Dance and Performance Training (Vol. 14, No. 3, 2023)

Published in Theatre, Dance and Performance Training (Vol. 14, No. 3, 2023)

Published in Theatre, Dance and Performance Training (Vol. 14, No. 3, 2023)

Published in Theatre, Dance and Performance Training (Vol. 14, No. 3, 2023)

Published in Theatre, Dance and Performance Training (Vol. 14, No. 3, 2023)

Published in Theatre, Dance and Performance Training (Vol. 14, No. 3, 2023)

In this article I investigate how my own directorial influences are infiltrated and disseminated in the teaching of theatre directing. My own studies and background in music composition have shaped...

The article examines the relationship between Jacques Copeau’s innovative approach to actor training and the romantic ideals associated with the figure of the child that prevailed at the turn of th...

If our aim is theatre that is genuinely inclusive, relevant, and able to respond to the continuing developments of the (post-)COVID world, then we need directors who are flexible enough to respond ...

Published in Theatre, Dance and Performance Training (Vol. 14, No. 3, 2023)

The relative paucity of research on directing reflects the way in which the practice of directing occurs – behind closed-doors (Trousdell 1992). Despite the power afforded to directors, the literat...

Published in Theatre, Dance and Performance Training (Vol. 14, No. 3, 2023)

This paper presents a conversation that took place via Zoom on 6 September 2022, between Adriana Schneider Alcure and Bruce Adams, curated by Pedro de Senna. In it, Alcure and Adams discuss their e...

Published in Theatre, Dance and Performance Training (Vol. 14, No. 3, 2023)

This article considers some of the most relevant literature in business organisational studies and sports performance studies to see how we might apply work in these areas when training directors. ...

Published in Theatre, Dance and Performance Training (Vol. 14, No. 3, 2023)

Published in Theatre, Dance and Performance Training (Vol. 14, No. 3, 2023)

An account and report on the findings of the Story Futures funded research project, Watercourse: Actor Training and Virtual Production in Immersive Dome Spaces, with project partners, Theatre Royal...

This study investigated the effect of reciprocal, self-check, and command TS on the learning and dance performance of Greek traditional dances. A total of 128 university students, were divided into...

Ronggeng performing art is preserved as one of Indonesian cultural heritages. However, this art is negatively stigmatized and associated with liquor, gambling, and prostitution. Through the novel R...

The purpose of the study is to investigate the impact of innovative management strategies on dance teacher performance. The target group in this study consisted of dance teachers and associated man...

This article draws from a research project that sought to map knowledge exchange movements in student led projects delivered as part of a final year module of the Applied Theatre and Community Drama BA Hons course, Theatre for Democracy and Advocacy, at the Liverpool Institute for Performing Arts (LIPA). As a practice, Theatre for Democracy attempts to create cultural spaces and activities that engender

Breaking prioritizes the value of respect, which is connected to the physical movements of the dance practice. However, despite promoting this value, Breaking faces a threat from within: unaddresse...

This spatial and contextual approach to the performance of assembly takes Dîner en Blanc, an annual pop-up picnic, as a case study. Ethnographic and choreographic analyses of the 2018 picnic event in Vancouver, Canada, ground a critique of the dynamics of site specificity and host/guest relations that drive this local expression of a global event. Drawing on a range of performance and decolonial theorists

This research focuses on the process of heritagization and how it functions to both legitimize a dance practice and generate a new set of values for the practice. More specifically, I explore how t...

Motivated by Melissa Ziad's balletic protest within Algeria's Hirak demonstrations, this article recuperates a distinction between the right to assembly and the right to free speech, constitutional guarantees blurred under contemporary rhetoric of association. By applying methods of dance studies to legal interpretation, it shifts crowd theory away from an anxiety of touch toward a copresence that

Published in Research in Dance Education (Vol. 24, No. 3, 2023)

Contemporary dancers are at risk for musculoskeletal injury due to the choreographic, artistic, and physical demands of the form. Group norms such as persevering through and normalization of pain and injury have been demonstrated within dance contexts and may contribute to the high prevalence of reported injury among dancers. The purpose of this study was to explore contemporary dancers’ perceptions

This article is dedicated to analyzing existing cultural tensions between nationalism and neo-imperialism through the prism of oral narratives of ballet training in post-Soviet Ukraine. I present and reflect on the results of a three-month-long ethnographic field study, which took place at a primary state-sponsored ballet school in Ukraine—the Kyiv State Choreographic School. My article seeks to investigate

Countering the historiographic under-representation of Greek modern dance, this article focuses on early twentieth-century dance artist Vassos Kanellos. Combining Western/European choreographic inputs and local, often traditional, elements, Kanellos rearticulated the inscription of Greek dance in historical time—beyond a sole focus on antiquity—and anchored it in a nationally marked space and in the

This article explores the cultural figure of the ropedancer and focuses on the influential performance of Philippe Petit in two of his walks. The high-wire walker plays a significant role discussed within three frameworks: a philosophical and urban discussion offering interwoven perspectives; the iconic walk at the World Trade Center in New York in 1974; and Petit's high-wire crossing performed in

This interview with Eleo Pomare focuses on his role as the choreographer of mature creative works that intermingle with his formation as a Black artist and activist after he returned from Europe to live and work in New York in the mid-1960s. It begins with discussion of his creative work in the community during the period of the Vietnam War and the movement for civil rights. Pomare reflects upon his

Director Luca Guadagnino's film Suspiria (2018) depicts the dancer Susie Bannion joining a dance academy secretly run by a coven of witches in Berlin during the German Autumn of 1977. This article analyzes how Mary Wigman's Hexentanz II, contemporary dance, and horror film practices inform Susie's neo-expressionist movement form, which is also steeped in the discourse surrounding the RAF (Red Army

ABSTRACT Given the social circumstances arising from the COVID-19 health crisis, we developed a participatory pedagogic methodology involving body experimentation and performing arts to explore ‘body memory’ as a tool for redefining new affective bonds and adaptation processes within urban environments and public spaces. This experimental methodology, addressed to community participation, involves

This article draws from the practice-research project under the umbrella title ‘From Haptic Deprivation to Haptic Possibilities’. The project began as a response to the first COVID-19 lockdown in the UK in March 2020 and the necessary transition to online interactions. As a practitioner-researcher who has been critically investigating tactile possibilities through somatically inspired methods within

Published in Theatre, Dance and Performance Training (Vol. 14, No. 2, 2023)

Published in Theatre, Dance and Performance Training (Vol. 14, No. 2, 2023)

ABSTRACT The unique feature of our journey is the real-life 24-7 experiences of Parkinson’s, rather than the snapshot of what is the focus of some research. The story captures achievements and differences which can be made to people’s lives. Our now new friends. (N=10) who live with and without Parkinson’s join virtually to become involved in the dance and physical activity sessions. The findings highlight

ABSTRACT This work explored the dynamics of trait emotional intelligence (EI) and dispositional flow in a sample of ballet dancers since research on these topics is scarce in the artistic domain. This study analyses whether EI correlates and predicts flow experiences and whether dancers’ experience influences their levels of EI and flow. One hundred and fifty-two Portuguese ballet dancers, mostly females

ABSTRACT This article investigates the characteristics of BA dance students’ learning experiences in contemporary dance techniques, discussed in relation to teaching approaches in a continuum between teacher-centring and student-centring. The empirical material consists of 11 students’ logbooks and interviews. The results elucidate the complex connections between the student’s learning activities,

Published in Theatre, Dance and Performance Training (Vol. 14, No. 2, 2023)

In her keynote address to The Stage’s Future of Theatre conference, Principal of the Royal Central School of Speech and Drama (Central) Josette Bushell-Mingo stated that the ‘future of drama training has changed forever’ (Citation2022Bushell-Mingo, Josette. 2022. “The Future of Arts Training Must Be On Our Terms.” The Stage, March 30. https://www.thestage.co.uk/features/josette-bushell-mingo-the-f

Our personal experiences as women working in the performing arts and entertainment sector indicate to us that there is a need for actron-training that includes articulated pedagogical framework and methodological approaches that engage with the performance of intimate content and professional touch. Women’s behaviour and communicative acts are often gendered through socialisation and gender hegemony

This article sets out to argue that purposefully consenting to touch constructs a metaphorical ‘consent-bubble’ in which only those invited into its parameters (often not including the IC, facilitator or teacher) may engage in touch, considering they comply with its uniquely constructed rules and boundaries. To do so, emphasis is laid on the intricacies, processes and importance of communication and

‘Training in touching’ aims to refine the knowledge and experience of ‘touching’ in its specific application to puppet-things in motion by those who move them. It opens up unusual concepts such as virtual touch in the spectator, therefore contributing to a practical and theoretical understanding of the lived experience of the ‘puppetry ensemble’, puppeteer-puppet-spectator. An acutely perceptive haptic

This article explores the practice of Rudolf Laban’s Flow Effort as a form of touch which is perceived in the energetic, subtle body of the mover. Central to the discussion is a series of reflections on studio practices undertaken during the Covid-19 pandemic, in Laban for Actors classes, at Rose Bruford College in 2020. In these sessions students and teachers returned to studios wearing masks and