Towards Contemporary Acting Techniques, Practices & Methodologies
Post-doctoral Researcher Dr Kiki Selioni, Royal Central School of Speech and Drama, Labanarium and MCF have taken the initiative to organize a Conference in Athens. The conference The Makings of the Actor aims to offer a platform to dialogue about the skills and knowledge necessary to develop the contemporary actor. The Conference will be the pilot event towards the establishment of the International Centre for Actor’s training that will officially open the next year 2020 in Athens supported by many institutions. Its mission is to gather international practitioners and researchers to discuss the needs of contemporary performance practice through conferences, performances, and workshops taking place internationally.
Contrary to the between-ness of our global realities, the vast majority of professional/conservatory-based training programmes in Europe, the UK, US, and Australia with a few exceptions have not yet embraced multi-, inter-, intra-cultural realities in their structure or pedagogical practice. Assumptions about what acting ‘is’ continue to be shaped by conventional modes, models, techniques, and structures that often resist both critical and/or creative self-examination (Zarrilli, Sasitharan and Kapur, 2016: 336).
The conference wants to address these perspectives and invites contributions addressing the following questions:
- what constitutes outstanding acting?
- The role of ‘talent’ in acting training
- How to train skills and dexterity
- How do we train and teach to reach all of the above
Our main goal is to open the discussion about this crucial issue of how to develop an actor today and to open a platform where for the first time we can as practitioners discuss our practices in order to create a community that can reach solutions.
Pr. Sergei Tcerkasckki Head of an Acting Studio in Russian State Institute of Performing Arts (he will also deliver an intensive week Workshop about Stanislavsky’s system) 100 years of the Stanislavsky System and Modern Actor Training
Pr. Andy Lavender in Theatre & Performance at the University of Warwick. Head of the School of Theatre & Performance Studies and Cultural & Media Policy Studies, University of Warwick.
Dr. Tom Cornford, Lecturer in Theatre and Performance at The Royal Central School of Speech and Drama.
Sulian Vieira Pacheco, Assistant Professor, Department of Performing Arts, University of Brasilia
Avra Sidiropoulou Assistant Professor at the Μ.Α. program in Theatre Studies at the Open University of Cyprus
Pr. Nikos Geladas School of Physical Education and Sports Science National and Kapodistrian University of Athens ·
Dr. Katia Savrami Assistant Professor of Choreology at the Department of Theatre Studies at the University of Patras, Greece.
Pr. Rob Roznowski Head of Acting and Directing in the Department of Theatre. Professor Michigan State University, USA.
Ramunė Balevičiūtė Associate Professor in Theatre Studies, Lithuanian Academy of Music and Theatre
Call for Papers, Teaching Demonstrations and Performances 17-26 July (Except Sunday 21th)
We welcome submissions from acting/voice/movement teachers, actors coaches, theatre practitioners, actors, directors, training practitioners, theatre researchers, practice and academic researchers within varying aspects of practice.
For papers please send your abstract of 200 words for your oral presentation (20 min) in a Word doc form, including title, institutional affiliation, your brief CV and email address. The paper presentations will be 20 min they are followed by a 10 min discussion with the audience/participants.
Submissions of teaching demonstration must be in English and can be up to 4 pages (including references and figures) in a Word doc form, including title, institutional affiliation, your brief CV and email address. The first 2 pages are expected to describe your system. The third and fourth pages are expected to be used for images, references, and technical requirements. You should expect wireless network access. A number of 8-10 students will be provided for all accepted demonstrations. The Demonstration allows practitioners/researchers to demonstrate their works in teaching in a dedicated session of 60-70 min. they are followed by a 20 min discussion with the audience/participants.
Performances will take place at Michael Cacoyannis Foundation Theatre Hall. Proposals must outline the planned work accurately in 2 pages in a Word doc form and must include title, brief Cv, technical requirements, images, and video. Performances running must be 20-90 min. and they are followed by a 20 min discussion with the audience/participants.
Please send your submission until 25th April 2019 to email@example.com
If an official invitation is required earlier for research funding purposes, please contact firstname.lastname@example.org and ensure that you submit your abstract as early as possible.
Submissions based on an implemented and tested system that innovative approaches related to conference’s areas of interest, (including but not limited to):
Voice speaking training
Dance and movement training for actors
Martial arts, stage combat
Acting coaching on screen
Actor and musical productions
Improvisation techniques and rehearsal process
Theory and/or Practice
Performance as Training
Psychology of the Actor
Presence and Truth on Stage
Ecstatic and Ritual Acting
Metaphysics and Physics in Actor’s presence
Acting in Education
Actors in Industry and their continuous training
Amateur/Professional Actors skills.
Skills and dexterities in Acting
Acting/Coaching Teachers and their skills.
Choreography in Acting
Conference Attendance Fees: €200
Student and unwaged €100
Workshop Monday 22 July to Friday 26 July 14.00-19.00
Modern Stanislavsky System in the Mirror of Chekhov’s “The Seagull”
This two-part workshop gives an experience of work according to the different phases of Stanislavsky’s System development. Starting from the intensive practical overview of different approaches to work of an actor on himself/herself it moves forward to scene work.
Rehearsal techniques (Etude technique, Method of Physical Actions, Action Analysis) are discussed and experienced. Closer examination of Treplev’s play in play reveals how Action Analysis might be applied not only for psychological drama but to the nonrealistic playwriting (here, to symbolic drama) as well.
Participants: €400 Student & unwaged: €300
Attendants: €200Student & unwaged: €100
For info and booking please send your application and brief cv to: email@example.com
The full call is here