To complement the publication of her book, Michael Chekhov’s Acting Technique: A Practitioner’s Guide (Bloomsbury, 2020), Sinéad Rushe, theatre director and Senior Lecturer in Acting and Movement at Royal Central School of Speech and Drama, London is now offering individual acting coaching sessions for professionals in north London.
Character development on a specific role
Dramaturgical development on devised ideas
Sessions cost £75/hour and are tailor-made. Skype sessions are also
Sinéad draws on the methodologies of Michael Chekhov, Stanislavsky and
Vsevolod Meyerhold, as well as on her own experience as a director and devisor.
Sinéad studied at Trinity
and the École Normale Supérieure, Paris before
training as an actor at The Royal Central School of Speech and Drama, London. Her directing credits
include Night Just Before the Forests
(Macau Arts Festival, China 2019), Concert
(The Pit, Barbican, London, Baryshnikov Arts Centre, New York &
international tour; Gradam Comharcheoil TG4 2018 Award-Winner), Out of Time (The Pit, Barbican, Baryshnikov Arts Centre, New
York & international tour; nominated for Olivier and Dance Critics’ Circle
Award), Gogol’s Diary of a Madman with Living Pictures
(Sherman Cymru, Cardiff, & international tour) and Something or Nothing with
Guy Dartnell (The Place Theatre & tour), commissioned by Sadler’s Wells.
She has directed four shows with her own company, out of Inc: Loaded (The Old Rep, Birmingham, Jacksons Lane, London), Night-Light (Oval House, London, Bristol Old Vic & tour), Life in the Folds (BAC, London & tour), and An Evening with Sinéad Rushe (BAC, London), all supported by Arts Council England. www.sineadrushe.co.uk
Join co-editors Libby Worth and Jonathan Pitches for the joint celebration of TDPT’s 10th birthday and our newly awarded quarterly status. We will spend time reflecting on the high points of the last ten years, with guest speakers, an open mike and a characteristic sense of fun and mischief. We will also have a session taking ideas from the floor about potential developments for TDPT, Special Issue suggestions, future articles and shorter formats.
Come and meet the journal team, including our publishers Routledge, the editors and those who work behind the scenes on our blog. Hear about our past and help us strategise into the future. And don’t forget to have some free nibbles and drinks as well!
Prof. Jonathan Pitches (University of Leeds) and Dr Stefan Aquilina (University of Malta) are delighted to invite proposals for a planned companion volume to the work, interpretation, and heritage of Vsevolod Meyerhold (1874-1940). The volume has already been discussed with Ben Piggott of Routledge who has expressed a strong interest in the project.
The volume seeks to determine the current state of Meyerhold studies and practice. While past scholarship has done much to place Meyerhold’s name as a hallmark of modernism, there still remains a plethora of material waiting to be discovered and analysed. With this in mind, and even at this early stage, the volume is promising a marked expansion of our knowledge of Meyerhold as it is seen today. It will be structured in four parts. Part 1 (Histories and Contexts) will enhance understanding of Meyerhold’s many histories, expanding beyond conventional subjects like the grotesque and biomechanics, to contexts which have been overlooked within scholarship on Meyerhold (his work in the provinces for instance, and with female collaborators). Part 2 (Sources) will equally engage with previously untapped material in Meyerhold’s oeuvre, this time by reproducing and contextualising previously untranslated primary and secondary sources on his work. Part 3 (International Transmission) will radically extend geographical understandings of Meyerhold’s practice by mapping routes of migration across continents, with planned contributions including entries on South Asia and the Middle East. Part 4 (Applications) will look into ways in which Meyerhold’s work is being applied in a number of contemporary scenarios, in health, in education and/or technology, for example. Practice Research investigations are particularly encouraged for this Part.
The editors are therefore particularly interested in an expansion of these themes through topics that include but are not limited to the following:
• Meyerhold and his overlooked contemporaries;
• Meyerhold as interdisciplinarian;
• Meyerhold and amateur practice;
• Meyerhold in the provinces;
• Meyerhold and opera;
• Meyerhold’s studios after the Revolution;
• Meyerhold’s migratory practices (beyond Russia);
• New sources on Meyerhold;
• Meyerhold and technology;
• Novel applications of Biomechanics today.
Prospective contributors are invited to join the core group of writers and scholars who have already expressed interest in submitting an essay to the project. These are:
• Dassia N. Posner (Northwestern University)
• Marie-Christine Autant-Mathieu (Sorbonne University)
• Donatella Gavrilovich (Università degli Studi di Roma “Tor Vergata”)
• Min Tian (University of Iowa)
• Bryan Brown and Olya Petrakova (University of Exeter)
• Rachel Hann (University of Surrey)
• Amy Skinner (University of Hull)
• Anna Kovalova (National Research University, Moscow)
• Teemu Paavolainen (Tampere University, Finland)
• Robert Leach (Retired Independent Researcher)
Abstracts of about 300 words should reach the two editors on firstname.lastname@example.org and email@example.com by not later than 1 March 2020. Kindly include a short bionote. A full book proposal will be submitted in May to Routledge, while a tentative deadline for writers to submit the essays is July 2021.
The Somatic Practice and Chronic Pain AHRC-funded network explores what somatic practices, such as Alexander technique and Feldenkrais, offer to people living with chronic pain. Somatic practices work with self-reflection on movement habits and opening up movement capacity, and have been integrated into many dance and theatre training programmes. In this network, we ask: how might the principles of these somatic movement practices be of value in supporting people living with pain? We also consider how the experience of working together can inform the practices of health professionals and dance artists, such as how they use touch and language.
In this series of two blog posts, we will firstly give an overview of some of the topics that we have explored to date in the hope that this may be of value to theatre and dance practitioners who work with health and/or live with pain. In the second blog post, we share our experiences of working across disciplines and reach out to readers to tell us about your experiences of 1) how you have worked across performing arts and health 2) how you have worked with pain through theatre and performing arts techniques. We aim to develop a larger project from the network in the longer term on somatic practices and pain, so your viewpoints, concerns and ideas will support this process. By posting on the TDPT blog, we want to interrogate arts-based perspectives on health topics, and also acknowledge that many performers suffer pain and injury throughout their career.
The network operates currently through a series of small and focused workshops to invite exchanges between researchers and practitioners in health, dance, and digital technologies. The first workshop focused on defining somatic practices through discussion and movement, thinking through how the practices might be understood by health professionals; and how they might support pain management. We also gathered opinions on somatics, chronic pain, assessment, and treatment. This was to gauge an initial understanding of members attitudes, for example on working across disciplines; or on observing/describing bodily movement as a form of pain assessment.
The second workshop theme was ‘dialogues across disciplines’, which included presentations and hands on sessions from dance, somatic practices, psychology, occupational therapy, physiotherapy, and nursing. Topics covered include the relationship between somatics and psychology; systematic reviews and arts based research methods; working with children in pain; qualities of touch in patient care; along with ideas of physical and social support in pain management.
The next workshop will focus on the role digital technologies could play in sharing somatic work with a wider number of people, such as those who cannot travel or have not yet accessed treatments. This is important since so much somatic work is currently only available in fee paying, one to one sessions, that exclude a large number of people. This workshop will also explore the different ways we could utilise technology, whether for patients to practice alone or to develop creative ways of expressing pain to family members and staff. In addition, there are impact and public engagement events such as an introductory session for pain management staff; and in future there will be a workshop for dance artists working with their own or other peoples pain.
Central to the network is the enquiry into how to work across disciplines. As dance and health professionals come together, it is clear that we come from epistemologically different starting points. The way we use language is embedded in distinct frames of being and, typically, approaches to research tend to arise from differently framed research questions. Touch, movement and physical interaction in our disciplines arise from belief systems informed by the contexts we work within. Core to our network is valuing each other’s knowledge and expertise, using the meetings as opportunities to expand our horizons, challenge assumptions and think in new ways about our practice and praxis. Ultimately this brings surprises, new ideas and questions.
In the next post, you will find the voices of the two people leading the network, dance researcher Emma Meehan and professor of children’s nursing Bernie Carter. We share personal experiences of working on the network, and at the end will turn the invitation back to you to share your own experiences of working with dance and theatre training techniques in health contexts; and in working with pain.