Bred In The Bone is a multilingual and culturally diverse company of theatre creators. Musiciality, physical practise and development of the body, ear and voice as an eternal ever-inspired instrument, are at the core of our training.
The idea that there should be a practice of ‘scales’ for the actor is arguably an ancient endeavour, and it remains the best description of what we developing, both in our rehearsal work and in what we implement in our training and our teaching.
The Performer Training Working Group has been meeting for thirteen years and has produced several collaborative outputs, including a variety of contributions to the thrice-yearly journal, Theatre, Dance and Performance Training (TDPT), dedicated to training in all its manifestations, and this blog.
Performer training is often conducted through and made up of ‘exercises’. These short activities, put together in a particular structure are the substance of what the trainee undertakes in the studio. And yet, what is an exercise? The most obvious definition from the Oxford English Dictionary is ‘a task set to practise or test a skill.’ However, the many meanings of the word imbue it with a host of connotations including physical training, military drills, or the use of one’s rights.
Exercises to train performers are documented in the Natya Sastra (500 BCE – 500CE) and Zeami’s treatise (14th Century CE) and have proliferated around the world in the wake of Stanislavski’s systemization of acting at the start of the 20th Century. Exercises are the core of performance training; books about performance in all its forms commonly contain catalogues of exercises; workshops and masterclasses are often structured around engagement with and critique of exercises. And yet, possibly through the blindness of familiarity, this fundamental building block of our work usually escapes interrogation.
We are seeking contributions that add to our understanding of what exercises are, the different ways they have been used in performance training, what their limits are, and what might be beyond them.
We invite contributions in a variety of formats from practical demonstrations and workshops (30-60 minutes), traditional academic papers (20 minutes) and provocations (10 minutes). Practitioners and researchers without institutional support are encouraged to apply and may contact the convenors to discuss ways that we might facilitate this. Contributors may also wish to make use of the TDPT Blog as part of their presentation.
For full details please go to the TaPRA website:
The deadline for the submission of a 300-word proposal, plus additional information, is Monday 8th April 2019.
Now in its 9th year, the Journal of Theatre, Dance and Performance Training runs to three issues annually and attracts contributions from scholars and practitioners across the globe. As part of our tenth birthday celebrations, we are planning to grow to four issues per year and these two appointments reflect our expansion both in ambition and audience reach. The journal’s co-editors Professor Jonathan Pitches (University of Leeds) and Dr Libby Worth (Royal Holloway, University of London) are seeking to recruit two Training Grounds Editors to work closely with them and with the rest of the Training Grounds (TG) editorial team, on this very successful journal, published by Routledge.
We seek two highly creative, motivated, organised and collegiate individuals with demonstrable specialisms in theatre, dance and/or performer training to join the rest of the TG team at this exciting moment in the journal’s growth. For the last nine years, we have been proud of the diversity of materials and innovation of writing forms offered within the pages of Training Grounds and with this set of appointments we hope to build on this track record, taking the spirit of the experimental backpages section into the journal’s main body. Continue reading
Following the success of the first TDPT Blog Artist Awards, we are delighted to announce a call for a new round of these awards.
The first TDPT Blog Artist Awards were launched to help artists, practitioners, students and freelance performance-makers to engage with the blog. We aimed to mitigate the financial barriers facing those who did not have the institutional support that university academics are accustomed to.
Accordingly, with the generous support of Routledge and the Theatre, Dance and Performance Training journal, we were able to offer small pots of money (£50-150) to support artists who contributed to the site by investigating an area of performer training of interest to the wider community. Continue reading
Maria, Bryan and I are delighted to welcome three new members to the blog team.
Our new team members enhance the geographic diversity and the range of expertise of the existing team, broadening the blog’s diversity. Our two new editors are Sarah Weston, a recent PhD graduate of the University of Leeds and I-Ying Wu, a self-employed artist and freelance researcher based in Taiwan and Canada who recently completed their PhD at the University of Northampton in the UK. We also have a third new team member, Nazlıhan Eda Erçin, an advanced PhD candidate at the University of Exeter, who will be occupying an Assistant Editor role as she has just moved to the USA for a new post. Continue reading
In sectors across the business and creative worlds, old models of cause and effect are becoming obsolete. We are beginning to acknowledge the complex and chaotic nature of the systems that surround us. Flexibility, fluidity, spontaneity and real time responsiveness are the essential qualities needed for this accelerated world. The future will belong to those who can improvise best.
– Lee Simpson & Phelim McDermott, Artistic Directors Improbable
The Global Improvisation Initiative (GII) was launched in 2016 to activate an international exploration into the art and impact of improvisation in depth and collectively, appreciating the rich history and diversity within our field in order to best serve the infinite possibilities of our future. The first GII Symposium took place in 2017 at both University of California at Irvine and Chapman University and served as an intellectual and artistic nexus for sharing, producing, and documenting new knowledge about improvisational processes happening within the performance arts industries and beyond. The first symposium brought together an international gathering of scholars, practitioners, educators, activists, and players all promoting the evolution and advancement of improvisation for future generations. Continue reading
Dear All,
Applications for a co-editor for the TDPT Blog close this Monday, 9 April. Please apply or pass on to those who might be interested.
It might be particularly of interest to those Early Career Researchers looking to develop their networks of academics and practitioners.
Wee look forward to hearing from you!
Best Wishes,
James
We are currently seeking a new member to join the editorial team of the TDPT Blog, www.theatredanceperformancetraining.org.
Associated with the influential journal, Theatre, Dance and Performance Training, published by Routledge, the blog’s interactive presence is designed to encourage a growing community of artists, academics, practitioners and researchers to share practice and debate issues that are currently alive within the disciplines of theatre, dance and performance training.
Now entering its third year, our blog has been highly successful in engaging new audiences for the TDPT journal, creating an online space that promotes spontaneous and productive conversation and debate. As we grow further it will represent a productive and discursive teaching ‘tool’ – or forum – within all levels of education and training preoccupied with dance, performance and theatre.
This opportunity will offer the chance to develop your own networks with scholars and practitioners, as well as contribute to the shape and direction of contemporary discussions on training.
We invite applications from researchers from any stage of their career, but especially Post-Graduate Research Students and Early Career Researchers who are actively seeking to develop their research and practice networks. We also encourage those with an active interest in Practice-based research and/or Live Art, and those who have familiarity with editing audio-visual material. As we are seeking to broaden our outlook and audience, we are interested to connect with scholars who reside outside England but above all we are looking for a team member who is highly organised, can work well in a team, and has a passion for the field of theatre, dance, and performance training.
The successful applicant will participate in regular Skype meetings with the Blog team to discuss the administration of the site and curation of posts. They will also seek out new content from practitioners and scholars and liaise with these authors throughout the content-making process. Such content may take the form of writing, photo essays, audio-visual files, and/or other innovative approaches. Applicants should be comfortable with editing and curating such content.
For further information, please contact blog editors, James McLaughlin, [email protected] (University of Greenwich), Bryan Brown, [email protected] (University of Exeter), or Maria Kapsali, [email protected] (University of Leeds).
To apply, please send a one-page statement of your relevant skills, interests and aspirations for the journal with an accompanying CV to James McLaughlin, [email protected] by Monday, 9 April, 2018.
In 2013, Theatre, Dance and Performance Training published a special issue (4.2) on the work of Michael Chekhov, edited by Franc Chamberlain and Andrei Kirillov with Jonathan Pitches. It included interviews, conducted by Cass Fleming, Sinéad Rushe and me, with prominent UK-based Chekhov practitioners Graham Dixon, Sarah Kane and Martin Sharp (‘Interview: the MCCUK Past, Present and Future’). Between them, Dixon, Kane and Sharp had been in responsible, in 1995, for setting up the Michael Chekhov Centre UK, now reconfigured slightly as Michael Chekhov UK, a network of artists ‘who are inspired by and working in a variety of ways with the ideas of the Russian actor, director and teacher, Michael Chekhov.’ (http://www.michaelchekhov.org.uk/).
The interviews grew out of a series of conversations between us, as two generations of practitioners working with Chekhov’s technique, at what felt to us to be a transitional moment in the history of Michael Chekhov’s work in this country (for an account of that history, see Jerri Daboo’s chapter in Jonathan Pitches (ed.), Russians in Britain: British Theatre and the Russian Tradition of Actor Training (Routledge, 2011)). Following the publication of these interviews we decided that there was a compelling case for research that built upon historical analyses of Chekhov’s ideas and explorations of his legacy in contemporary actor training towards a consideration of the future of his technique.
To this end, in 2013 we began a project asking, ‘How can Chekhov’s techniques be used in the 21st century in contexts other than actor training designed for the interpretation of existing dramatic literature?’ We undertook practice research into the use of Chekhov’s technique as part of theatre-making processes that blur conventional distinctions between writers, actors and directors, and took his work into areas of theatre practice he had not taught himself: voice, movement, dance, design, applied theatre and therapeutic practices. We also initiated conversations with Chekhov practitioners in other parts of the world.
That project came to an end in September 2016 with an event at Goldsmith’s featuring over 120 participants and the production of an edited collection: Michael Chekhov Technique in the Twenty First Century: New Pathways (Bloomsbury Methuen Drama), edited by Dr Cass Fleming and Dr Tom Cornford, which will be published in 2018. The attached report offers an overview of the research undertaken to date and of our future plans. We hope that you will find it stimulating and encourage you to engage either with us directly or with Michael Chekhov UK here.
Please click here to download a copy of the New Pathways, Research Project Report.
Dr Tom Cornford
Lecturer in Theatre and Performance, The Royal Central School of Speech and Drama.
The special issue of Theatre, Dance and Performance Training, entitled ‘Training the Popular Performer’, was launched at the University of Kent on 6th November. The event drew a varied crowd, including lecturers, postgraduate research students and even undergrads. The special issue was launched alongside Popular Performance (Bloomsbury), a collection which was edited by the same team as the special issue of TDPT: Adam Ainsworth, Oliver Double and Louise Peacock. Adam and Olly talked about both publications in the context of popular performance more generally, and Sophie Quirk, who wrote a chapter for the book, also spoke.
The evening finished with a caption competition, in which punters were invited to write jokes to accompany one of the illustrations. The crowd voted to decide which captions were the funniest, and the best three won copies of the TDPT special issue!
We are delighted to share that the Theatre, Dance and Performance Training blog has now surpassed 20,000 views. Whilst this is only one measure we hope this is indicative of the many fine posts and comments being contributed to our site and we thank all the contributors who have made content for us so far.
To add to our growing community we have been supporting a handful of contributors through our Artist Awards. This week sees a new post by The Wardrobe Ensemble, our first Artist Awards recipient and the first post by Asha Jennings-Grant, who received the third Award.
The Artist Awards were conceived to highlight and support the most innovative creative practice in the field of performance training. Accordingly, we are excited to share Wardrobe’s reflections on the work that Complicite say, ‘fills us with joy and reminds us of why we love working in theatre.’
The two posts from The Wardrobe Ensemble trace two weeks in the development of their most recent show, Education, Education, Education, and the way training informs their remarkable ensemble dynamic.
Our second Blog Artist Award takes us to a territory that has remained relatively uncharted in the field of performer training. Please join dance artist Marie Andersen on a series of posts on Motherhood in/as training exploring a number of perspectives, including female artistic identity and embodiment, training beyond disciplinary boundaries, and training when there is no time.
Marie has currently posted two of a series of three posts that combine creative video and reflective writing in an innovative approach to this neglected topic. The two posts published have already elicited stream of comment and discussion.
Finally, Asha, in her first post introduced the work she is developing on movement training for Motion Capture and will continue to post in the next coming months on the workshops she will be leading.
Visit the TDPT blog to follow this and other engaging threads, join the conversation by commenting on any of the posts, or even submit your own piece of writing to the blog to share your own practice.
Also look out for a series of reviews of the meeting of the Performer Training Working Group at the TaPRA Conference (Theatre and Performance Research Association) in Salford in September 2017.
The TDPT blog was launched in November 2015 to encourage a growing community of artists, academics, practitioners and researchers to share practice and debate issues that are currently alive within the disciplines of theatre, dance and performance training. One of our aims was to engage a new audience for the TDPT journal while also creating an online space that encourages spontaneous and productive conversation and debate. With one milestone reached, these aims are becoming a reality and we hope that the TDPT blog is achieving its aim of offering a vibrant and engaging hub for discussion of the leading edge of theatre, dance and performance training.
There are still places available to attend the School in Athens THIS YEAR. Ten weeks of intensive professional training in one of the world’s great cities!
We will NOT be running the DUENDE School in Europe in 2018. We are exploring the possibility of running outside Europe next year, and if that does not prove possible, we will take a year off!
We hope to bring the School back to Europe in 2019. A full update on plans for 2018 will be available in the Autumn.
This means that if you want to attend the School in Greece, you should consider applying for one of this year’s remaining places.
John Britton (Director): john@duende-ensemble.com
Eva Tsourou (Administrator): administration@duende-ensemble
Upcoming Workshop Dates:
June 27th – July 11th: Residential Workshop, Lesvos, Greece.
September 18th – November 24th: The DUENDE School of Ensemble Physical Theatre, Athens, Greece
Royal Conservatoire of Scotland – BA Acting
By Harri Pitches
This is the second installment in a serialized account of a First Year BA Acting student at the Royal Conservatoire of Scotland (RCS). It is a first-hand account of the experience of embarking on the rigorous and holistic training offered at that institution and intends to provoke responses from students who undergo such training, or those who teach them.
The End of the First Term
As I come to the end of my first major ‘chunk’ of time at the RCS, ready to throw myself into the challenges and renewed excitement that 2017 at the conservatoire will doubtless bring, I find myself reflecting on what I have learned, and how I’ve found the whole drama school experience so far. The question everyone has asked me since I’ve been back in my Yorkshire hometown for the Christmas holidays has been ‘Is it what you thought it would be?’ The answer to this is not as simple as ‘yes’ or ‘no’. Continue reading
Judita Vivas is a performer, director and theatre-maker, originally from Lithuania, who recently completed her PhD at Kent University. She has attended a number of residential workshops with DUENDE and recently created her first solo show – ‘7 Petticoats’, a poetic response to the life and legacy of Mary Wollstonecraft – in collaboration with John Britton.
During a second encounter with John Britton and Duende in 2014 at AuBrana
Cultural Centre in Southern France, I made one of the most significant discoveries in
my professional theatre life. It is a very simple discovery, yet it has had a profound
impact on how I view myself as an artist and how I view my work.
I discovered the significance of giving yourself permission to do things… Continue reading
Click on the tiles below to navigate to all of the posts discussing our featured companies:
The inspirational DUENDE is our first Featured Company in the My Training section, and more will follow in the coming weeks.
Mei JiaoYin is a PhD candidate in “Theory and Research in Education”, at The University of Roma Tre, Italy. Her first 20 years of life were in Hangzhou, China, where she studied “Art Education” in Zhejiang Normal University. For the last ten years she has been living in Italy and teaching creativity dance. Mei recently attended one of DUENDE’s training & performance residencies and is now at The DUENDE School for just the first two weeks of the course, before returning to Italy to complete her PhD.
I started to observe my state of body, emotion and movement, without judgment, just simply observe all that is there: fear, qualities and aliveness.
I accept everything that appears though observation, just like an adventure, I don’t know where it will take me, but every moment is so exciting to explore myself. For example, these days in the Ball Game, I notice my body when I react in the moment of catching the ball: breathing becomes rapid, toes grip the earth, sometimes I try to beat the ball. By simply observing the body I can connect with my fear and it is interesting to play with fear. When is the next ball coming? I just focus on my breathing, and a new feeling comes, that moment is so wonderful! This experience gives me the opportunity to discover myself.
Hannah Waters is a UK-based performer. She studied both BA and MA (Physical Acting) at The University of Kent. Her Masters dissertation explored ‘Applying the systematic principles present in constructivist artwork to a method of physical theatre composition’. As part of her time at Kent Hannah also studied at the University of California.
I came to the DUENDE School of Ensemble Physical Theatre this autumn dragging all the traits of a life spent in formal education in the UK with me, traits that I am beginning to address, unpick and challenge as I approach my third week of training at DUENDE.
This is my first foray into vocational training after four years at university: I previously undertook a BA in Drama and Theatre Studies and an MA in Physical Acting, the latter of which I completed a matter of weeks before I made the journey to Athens to begin my work. And so I have made the leap from the world of academia to another, very different world, where my perceptions of myself and my work have suddenly been challenged in ways they never have been before.
The DUENDE School of Ensemble Physical Theatre is meeting in Athens, Greece, through the autumn. Each week a contributor to the school will write a short reflection for this blog.
This week’s post is written by Manjari Kaul. Manjari studied Arts and Aesthetics at Jawaharlal Nehru University, Delhi before becoming a Primary School Teacher, Performer and Director.
Manjari attended The DUENDE School in 2015 and has returned in 2016, at the School’s invitation, to explore in more detail the pedagogy of the work – with a view to running DUENDE training sessions in India and perhaps organising an iteration of The DUENDE School in India in the future.
Manjari is one of DUENDE’s Associate Artists.
This post is an attempt to understand how my training in Ensemble Physical Theatre might be used as a tool by school teachers in the classroom. I will explore the possibility of viewing a Primary/Middle School classroom as akin to an ensemble that must be alive in the here and now, responding to ever evolving dynamics.