TDPT Issue 12.2 – Independent Dance and Movement Training, Now Published

What is independence? Independent from what or whom? And what is training, learning and knowing?

These questions have formed the basis of our approach to this issue. Seemingly simple, these questions have been at the heart of Independent Dance’s work since 1984, when the organisation emerged out of informal collaborations between artists seeking a common ground to share training opportunities across dance forms. Remaining artist-led ever since, ID is preoccupied with supporting learning through dance, and with articulating what that might mean, and for whom.

We were therefore delighted to accept the invitation to guest-edit Theatre, Dance and Performance Training and have aimed to carry these threads throughout. We were also keen to reach beyond the boundaries of our own context and traverse borders between fields and forms. While ID has historically been associated with somatic practices, the range of practices featured in this issue is true both to the original intention of ID to support a very wide breadth of forms, and to our current commitment to supporting research across forms of dance, with questioning and open-ended curiosity being key ingredients, rather than an emphasis on product or aesthetic.

Through an international call-out, we invited proposals illuminating as broad a range of perspectives as possible, exploring how artists create, practice, and develop independent training forms, and what current practitioners consider relevant.

The resulting issue, published in July 2021, includes contributions ranging from articles to one-page ‘postcards’, by the following artists and writers: ‘Funmi Adewole, Casey Avaunt, Katrina Brown, Laura Cervi, Guy Dartnell, Thomasin Gülgeç, Stefan Jovanović, Lliane Loots, Simone Kenyon, Georgia Paizi, Helen Poynor / Hilary Kneale / Paula Kramer, Aswathy Rajan, Carolyn Roy, Stephanie Sachsenmaier, Niamh Dowling / Miranda Tufnell / Lucia Walker, Rebecca Weber, Simon Whitehead. It concludes with an obituary for Nancy Stark Smith written by Colleen Bartley.

The editors have selected the following two articles to be free to access until the end of October:

‘The dance artistry of Diane Alison-Mitchell and Paradigmz: Accounting for professional practice between 1993 and 2003’ by ’Funmi Adewole

‘Impermeable bodies: Women who lion dance in Boston’s Chinatown’ by Casey Avaunt

Contents:

EditorialHenrietta HaleNikki TomlinsonGitta Wigro & Sara Reed

The Companionship ScoresCarolyn Roy (Article)

Impermeable bodies: Women who lion dance in Boston’s ChinatownCasey Avaunt (Article — free to access in September and October 2021)

‘Critical Pathways’ – Training and Investigating the Art of Choreography-Making with Rosemary ButcherStefanie Gabriele Sachsenmaier (Article)

Decolonising dance pedagogy? Ruminations on contemporary dance training and teaching in South Africa set against the specters of colonisation and apartheidLliane Loots (Article)

Tik Tok and generation ZLaura Cervi (Essai)

“From ‘Guru-mukha’ to Contemporaneity”: metamorphosing divergent trajectories of Mohiniyattam pedagogy and performativityAswathy Rajan (Article)

StandingThomasin Gülgeç (postcard)

Getting into your head: social distancing and the intimacy of audio-only movement sessions on earpodsGeorgia Paizi (postcard)

.Behind from Appears NoticingKatrina Brown (postcard)

Post card from an insider artistGuy Dartnell (postcard)

Journeying towards multitudinous bodies: working with body weather practices through the creation of Into the MountainSimone Kenyon (Essai)

Walk of Life Training in Non-stylised and Environmental MovementHelen PoynorPaula Kramer & Hilary Kneale (Article)

The dance artistry of Diane Alison-Mitchell and Paradigmz: Accounting for professional practice between 1993 and 2003Funmi Adewole (Article — free to access in September and October 2021)

Holding the edge: between embodied trauma and choreographic learningStefan Jovanović (Essai)

Shared discoveries in theatre and danceNiamh DowlingMiranda Tufnell & Lucia Walker (Article)

LocatorSimon Whitehead (Essai)

Social (distance) dancing during covid with project trans(m)itRebecca Weber (Essai)

Nancy Stark Smith February 11, 1952 – May 1, 2020. Dancer, Teacher, Writer, Curator, Editor, PhenomenonColleen Bartley (Obituary)

Notes on Contributors:

Guest editors, special issue

Henrietta Hale is co-director of Independent Dance (ID) since 2018, leading the curation of an artist-led, dance development and research organisation. She has a 25 year dance artist practice, most significantly as founder member of collective Dog Kennel Hill Project since 2004, creating performance research across theatre, gallery, screen and unusual sites, within a range of producing partnerships such as Whitechapel Gallery, Dance Umbrella, and Brighton CCA. Roles as a dancer/collaborator include Ricochet Dance Productions and Rosemary Lee projects and movement direction with visual artists. She has taught regularly in higher education contexts, significantly, Trinity Laban (2002 − 2013).

Nikki Tomlinson is a producer and dramaturg with a background in curation and performance-making. Over the past 20 years she has developed interests in performance, participation, social justice and interdisciplinarity, advocacy for and with artists and widening access in every sense to experimental work. Her previous roles include Lead Artist Advisor/Producer at Artsadmin, Programme Manager and later co-chair of Chisenhale Dance Space, ESOL Course Leader and Refugee Advisor at Hackney Community College. She joined Independent Dance as co-director in March 2020. Alongside her role with ID she is a Trustee of Home Live Art and continues to work freelance across the UK and internationally.

Sara Reed is an independent academic, researcher, writer, project manager and a qualified Feldenkrais practitioner. With a career that has spanned a wide range of dance, performance, arts and education contexts, she has published widely in the area of embodied-movement, dance, somatic practices and pedagogy. Her experience includes interdisciplinary teaching across art forms. Sara is an Associate Editor for TDPT Training Grounds and on the Editorial Boards of the Journal of Dance & Somatic Practices and Dance, Movement & Spiritualties. She is Co-chair for Independent Dance and a trustee for Wriggle Dance Theatre – for children and families.

Gitta Wigro is a former co-director of Independent Dance. She is a freelance dance film programmer and curator, and part of the team behind the MA Screendance at London Contemporary Dance School. She has worked in artist and artform development at The Place, Arts Council England, and Independent Dance, as well as in freelance roles. As a dance film specialist, she has worked with many international festivals, including Leeds International Film Festival (UK), COORPI (IT), Festival Quartiers Danses (CA) Dance Umbrella (UK), among many others. She co-ordinates the International Screendance Calendar and other resources to support the dance film field.

The editors

Jonathan Pitches is Professor of Theatre and Performance at the University of Leeds and Head of School of Performance and Cultural Industries. He specialises in the study of performer training and has wider interests in intercultural performance, environmental performance and blended learning. He is founding co-editor of the TDPT and has published several books in this area: Vsevolod Meyerhold (2003), Science and the Stanislavsky Tradition of Acting (2006/9), Russians in Britain (2012) and, Stanislavsky in the World (with Dr Stefan Aquilina 2017). His most recent publications are: Great Stage Directors Vol 3: Komisarjevsky, Copeau Guthrie (sole editor, 2018) and the monograph, Performing Landscapes: Mountains (2020).

Libby Worth is Reader in Contemporary Performance Practices, Royal Holloway, University of London. She is a movement practitioner with research interests in the Feldenkrais Method, physical theatres, site-based performance and in folk/traditional and amateur dance. Performances include co-devised duets; Step Feather Stitch (2012) and dance film Passing Between Folds (2017). She is co-editor of TDPT and published texts include Anna Halprin (2004, co-authored), Ninette de Valois: Adventurous Traditionalist (2012, co-edited), Jasmin Vardimon’s Dance Theatre: Movement, Memory and Metaphor (2016). Chapter contributions include on clog and sword dancing for Time and Performer Training (2019, she co-edited) and ‘Improvisation in Dance and the Movement of Everyday Life’ for the Oxford Handbook of Dance Improvisation (2019).

Contributors

Funmi Adewole moved from Nigeria to Britain in 1994. She performed with African dance drama and physical theatre companies in Britain for several years before studying for a doctorate in Dance Studies. She is a senior lecturer at De Montfort University, Leicester.

Casey Avaunt is Assistant Professor of Dance in the Department of Performing Arts at Elon University. Her research interests include critical dance theory, Asian and Asian American performance, and the role of culture and gender in the production of choreography.

Colleen Bartley is an independent dance artist and improviser who lives with an invisible disability. She co-edited Contact Quarterly CI Newsletter (US) with NSS & co-organises London Contact Improvisation (UK). She holds a degree from Swarthmore College and a diploma from Laban Centre London. She teaches movement & dance and creates film and performance.

Laura Cervi is Serra-Hunter Lecturer at the Department of Journalism and Communication Sciences of the Autonomous University of Barcelona, Spain. PhD in Political Science from the University of Pavia (Italy) and the Autonomous University of Barcelona (Spain). Journalist and amateur dancer. Her main research interest is media literacy and citizen participation.

Niamh Dowling is Head of School of Performance at Rose Bruford College of Theatre and Performance in London. Niamh trained with Monika Pagneux in Paris, Anne Bogart, Nancy Topf and Eva Karczag in New York and as a teacher of the Alexander Technique with Don Burton. She collaborated closely with Teatr Piesn Kozla in Poland for fifteen years. Niamh has been training in Systemic Constellations for 8 years, which has deeply influenced her practice and supported her holistic approach to education and performance training. Niamh is one of the practitioners on the online Routledge Performance Archive.

Stefan Jovanović is a queer-neurodivergent performance-maker who designs spaces and site-specific performances. His artistic practice embraces a maximalist aesthetic, creating speculative fabulations about future-forms of kinship and social healing. As a trained trauma therapist and architect, he incorporates spatial dramaturgy and philosophies of well-being into spaces of cultural production.

Simone Kenyon is an intra-disciplinary artist, dancer and Feldenkrais practitioner. For over twenty years she has developed a practice of expanded choreographies; encompassing movement, ecology, cultural geographies and walking arts to create participatory events for both urban and rural contexts. She is a current PhD researcher at the University of Leeds.

Hilary Kneale is an independent interdisciplinary artist, who works in collaboration with others from different fields. She is a published writer, movement practitioner, educator, guardian of Vision Quest, and healer, living within her own quest to remember the true nature of interrelatedness. Her work is widely body based and includes performance and ritual in the landscape, calling strongly to the ancient stories held deep within the earth. Having trained to embody, develop and teach practices with support of the work of Helen Poynor, and Northern Drum Shamanic Centre, she inhabits ways of opening the body, heart and mind, that reawaken the native soul.

Paula Kramer is an artist-researcher and movement artist based in Berlin. She holds an artistic PhD in Dance (Coventry University) and was a post-doctoral researcher at Uniarts Helsinki (2016–2019). Her work explores intermateriality through site-specific outdoor movement, rooted in Amerta Movement (Suryodarmo) and Non-stylised and Environmental Movement (Poynor). She collaborates with materials of many different orders as active agents in the creation of movement, performance and choreography; as well as daily life practices and sense-making. She publishes widely in the context of artistic research through bodily practices and is a board member of the Journal of Dance and Somatic Practices.

Lliane Loots holds the position of Dance Lecturer in the Performance Studies Programme at the University of KwaZulu-Natal. She completed her PhD in 2018 looking at contemporary dance histories on the African continent. As an artist/scholar her PhD research is framed within an ethnographic and autoethnographic paradigm with a focus on narrative as methodology. Loots founded Flatfoot Dance Company as a professional dance company in 2003 when it grew out of a dance training programme that originally began in 1994. As the artistic director for Flatfoot, she has travelled extensively within the African continent with her dance work.

Helen Poynor is an independent movement artist specialising in site-specific and autobiographical performance and cross-artform collaborations. She runs the Walk of Life training and workshop programmes in Non-stylised and Environmental Movement on the Jurassic coast in East Devon/West Dorset. Helen is acknowledged as a teacher by Anna Halprin and Suprapto Suryodarmo, with whom she trained. She is a mentor for established and emerging dancers and practitioners and a guest associate teacher with Tamalpa UK. Helen has contributed chapters and articles on her work to numerous dance publications including the Journal of Dance and Somatic Practices. Helen is a registered dance movement therapist and somatic movement therapist. www.walkoflife.co.uk

Aswathy Rajan is a Lecturer in Dance at the International School of Creative Arts, Cochin, Kerala. She received BPA in Mohiniyattam from Kerala-Kalamandalam (2009) and MPA Dance from University of Hyderabad (2012) with First Rank. She qualified for UGC- Assistant Professor in Dance and started her Ph.D. as a UGC-JRF/SRF at the University of Hyderabad in 2020. During her Ph.D., she worked as a teaching assistant at the Dept. of Dance, UOH. She authored two books; “Dancethesis: An Amalgam of Dance perspectives” and “Aesthetics of Kuchipudi” besides writing several articles.

Carolyn Roy is a London based dancer who performs and teaches in the independent dance sector. Her work is concerned with attention, perception, being-with others and encountering our environment. Her current preoccupation is the political agency of dancing. She has recently completed a PhD at the University of Roehampton.

Stefanie Sachsenmaier (PhD Middlesex University, DEA Sorbonne Nlle, MA Goldsmiths College, SFHEA) is Senior Lecturer in Theatre Arts at Middlesex University and Programme Leader of BA Theatre Performance and Production. Her research centres on the processual in creative practice, with a particular interest in the ways that performance extends into the socio-political context. She co-edited Collaboration in Performance Practice (Palgrave 2016) and published a series of writings related to her long-term research with British choreographer Rosemary Butcher. She has a background as a performer and is an experienced practitioner of Wu Style tai chi chuan.

Miranda Tufnell is a dance artist, writer and teacher in movement and imagination and also an Alexander teacher and cranio-sacral therapist. She has been teaching and making performances for 40 years. Her work explores the ways movement shapes our sense of meaning, language and perception. With Chris Crickmay, she created a film Dance Without Steps and co-authored two handbooks on sourcing creative work: Body Space Image (1990) and A Widening Field (2004). She has worked extensively in the field of arts and health as documented in her most recent book, When I Open My Eyes – Dance Health Imagination (2017)

Lucia Walker has been teaching Alexander Technique internationally to both individuals and groups since 1987. She is also a movement artist and teacher specialising in contact improvisation and ‘instant’ composition, teaching and collaborating in dance, physical theatre, communication and movement research projects (Forgotten Angle Theatre Collaborative and Flatfoot Dance Company, South Africa, Rosetta Life, England). She works with a wide range of people including young people, people with chronic illness, professional musicians and singers. Working with performers is a particular interest and Lucia works regularly with classical musicians, singers, actors and dancers. She is also involved in Alexander Technique teacher training and assessment of readiness to teach Alexander Technique.

Rebecca Weber, PhD, MFA, MA, RSME/RSMT/RSDE, THE, FHEA is a Dance Studies lecturer at the University of Auckland. Co-director of Project Trans(m)it, director of Somanaut Dance, and editor for Dance, Movement, and Spiritualities, Weber’s research interests include: somatics, technology, choreography, cognition, and pedagogy.

Simon Whitehead is a movement artist and craniosacral therapist living in west Wales. Simon hosts the Locator workshop series and is a member of Maynard, an interdisciplinary artist collective that collaborate on a programme of engaged dance activity in the village of Abercych, working through on-going residencies, the village dance, workshops, local and international partnerships. As part of an AHRC-funded PhD(PaR), based at the University of Glasgow, he is currently exploring what posthuman ecology means with reference to an expanded choreography of touch.

Training Grounds Call for Postcards (TDPT Journal)

Amidst the current disruption the Training Grounds’ section of Theatre Dance and Performance Training Journal continues its search for responses to our regular themed Postcards feature. This regular feature attempts to collect different perspectives of training from a variety of people via short responses on a given theme. Our next theme (for the Winter 2020 issue) is:

Training and Buildings

Call out for TDPT’s regular, themed, Postcards feature. This regular feature attempts to collect different perspectives of training from a variety of people via short responses on a given theme.

We are interested in receiving responses from anyone engaged in thinking about/doing training for performance in all its myriad forms.

You could be a formal ‘Trainer’, a doer, a student, a practitioner, a provider, a supporter, or a thinker about training. You could work in theatre, dance, music, circus, live/performance arts, design or construction for performance, or any other connected discipline.

Continue reading

CfP: Proposals for the Performer Training Working Group, TaPRA, 2021

We would like to announce the call for proposals for the Performer Training Working Group of the Theatre and Performance Research Association (TaPRA) Annual Conference : 6-10 Sept, online & co-hosted by Liverpool Hope University.

The Performer Training Working Group’s theme is Training and Agency.

For full details of the call, details concerning submission, costs and bursaries, please visit our TaPRA page:

http://tapra.org/call-participation/tapra-2021-performer-training-working-group-cfp-training-and-agency/http://tapra.org/call-participation/tapra-2021-performer-training-working-group-cfp-training-and-agency/

Please do share to anyone else who you think would be interested in joining us.

Please note, deadline for submitting proposal is Friday, April 9th.

In addition, look out for an additional email call to an exciting online interim event that we are putting together and will share with you in a couple of week’s time.

Please do not hesitate to get in touch with us (the Working Group convenors: Sarah Weston (S.Weston2@bolton.ac.uk), James McLaughlin (j.a.mclaughlin@gre.ac.uk) and Jane Turner (J.C.Turner@mmu.ac.uk) should you have any queries/questions.

TDPT Issue 12.1 Published

This new issue of the journal is international in scope with rich contributions from around the globe including articles on indigenous theatre in New Zealand, explorations of planetary performance pedagogy from practitioner scholars in Singapore, USA and Australia, training histories in Australia and in the former Yugoslavia, and a collated series of conversations on theatre pedagogy from Drama School Mumbai. Contributions include short essais, postcards and reviews as well as articles, several of which respond to creative responses to being in the midst of a pandemic.

It’s always a delight to see how submissions to one of the open issues of TDPT reveal new debates simply by sitting side by side with each other. In 12.1 a prominent theme that emerges is that of tracing past training practices and examining how they link with or challenge contemporary training experiences. One way of exploring this, beyond the pages of the issue, is to read the essai on Peter Hulton’s pioneering work on Arts Archive that links perfectly with Hulton’s offer here in the blog to make a wide range of training workshops available to explore.  .

Contents

Editorial
Libby Worth, Jonathan Pitches, Chris Hay and Aiden Condron

Continue reading

CfP: TDPT Special Issue: Martial Arts Re-Visited

Special issue: Martial Arts Re-Visited to be published in September 2022
Call for contributions, ideas, proposals and dialogue with the editors

Guest editors:
Prof. Paul Allain, University of Kent, Canterbury (P.A.Allain@kent.ac.uk)
and Prof. Grzegorz Ziółkowski, Adam Mickiewicz University, Poznań (grzeg@amu.edu.pl).
Training Grounds Editor: Thomas Wilson, Rose Bruford College, London (Thomas.Wilson@bruford.ac.uk).

Martial Arts Re-Visited (Issue 13.3)

This special issue wishes to reinvigorate discussion about the applicability and usefulness of martial arts in actor, dancer and performer training. It opens the door particularly wide to contributions which intend to critically re-evaluate and re-examine martial arts’ role and place in performing arts training approaches and schemes.

Following in the footsteps of proponents of the newly established scholarly discipline of martial arts studies, such as Paul Bowman, Benjamin Judkins and Sixt Wetzler, we see the widely used and discursively constructed notion of “martial arts” as inclusive rather than exclusive, embracing traditional martial arts, competitive combat sports, military and civilian self-defence systems, as well as many activities straddling the boundaries between these. Moreover, for us the term “martial arts” denotes not only those practices and techniques which when skilfully executed may prove effective in physical struggle/contests, but also a vast pool of adjunct activities related to health, wellbeing, meditation and performance broadly construed that have their roots in or are connected with combat methods. Borrowing from Wetzler, we advocate that “martial arts” activate several dimensions which often interrelate and intersect, including: (a) physical and psychological preparation for confrontation with violence, usually carried out according to systematic and reproducible protocols and schemes, (b) combat competition adhering to set rules and frameworks, performed for fun or to determine a prize winner, (c) the display of martial skills and techniques in front of others, (e) pursuit of transcendent goals, consisting of cherishing specific philosophies and worldviews as well as character formation, (f) therapies and illness prevention. Furthermore, we note that martial arts cannot be reduced to their Asian or – more narrowly – East Asian incarnations since the phenomenon pertains to every corner of the world and as such strongly questions the dominant East-West axis, just as it unsettles the South-North axis too, with highly influential forms such as capoeira practised worldwide.

We are therefore open to proposals which confront not only the practices most commonly associated with martial arts and most frequently employed in performer training contexts, such as Japanese aikido and Chinese taijiquan, but also lesser known styles and schools as well as other non-obvious manifestations of martial arts’ approaches, attitudes, ideas and techniques.

In the turbulent 1960s, with a hunger for alternative models of organizing socio-political realities and related fascination with Eastern philosophies and practices of bodymind cultivation, elements of various (mainly East Asian) martial arts started to populate various Western actor, dancer and performer training programmes and regimes carried out both in academia and professional studios. Over time, as Robert Dillon observed in 1999, “the notion of ‘martial arts for actors’ has gone from being alternative in every sense of the word to being mainstream” and presently martial arts are a well-established component of many theatre, dance, circus or performance training routines, often part of a larger programme of psychophysical activities and approaches. Different artists, practitioners and scholars (sometimes in one body, as in the case of theatre scholar and practitioner Phillip B. Zarrilli) have listed the numerous physical and/or psychological benefits of employing martial arts in the formation of performance artists. The most often cited examples include: (a) heightening psychophysical awareness, sharpening perception and a sense of being here and now (presence), (b) cultivation of bodily and mental flexibility, (c) integration of body and mind, (d) development of focus, rootedness, balance and a sense of timing, (e) elaboration of respect for discipline, (f) improvement in terms of stamina and movement capacities, etc. This long list of advantages, however, does not dispel doubts which arise when considering the presence of martial arts in performer training and should not make us overlook related questions. These dilemmas comprise, for example, risk of injury, the presence of violence (even in a nascent form) and the subjugation of critical thought in confrontation with (often mythologized) practices and attitudes enshrined in (often esoteric) traditions. In an age when hierarchies are being acutely questioned and overturned, in life as much as in the training studio or classroom, when inclusivity and equality determine our every move, how do the structured forms of martial arts and their related pedagogical or dissemination models speak to such concerns? Can they only reinforce authority, or can they overcome such binary models? How might martial arts help shape the performance revolution that is yet to come? And how do martial arts impact on wider notions and practices of gender and sexuality? Are they purely conformist, homogenizing, or can they offer possibilities for transgression and transformation? We are convinced that these problems and issues deserve attention and careful scrutiny.

We would also like to highlight the following questions to be – potentially – tackled by contributors to the special issue:
• Are martial arts in performer training gender, race, class, age, (dis)ability determined? If they are, how does this manifest itself and what are the implications of this?
• How do cultural, political and social contexts play out in martial arts as part of performer training? Amateur and youth involvement in martial arts is extensive; how does this feed into performer training?
• How do social distancing and isolation as consequences of the global pandemic affect martial arts’ presence in performer training curricula?
• Which style(s) or school(s) are better/worse suited for performer training? Are any not suited at all? If so, why?
• Are martial arts primarily used as a movement training substitute? Are other dimensions of martial arts, such as meditation, work with energy, ethical dimension, etc., included in performer training regimes as well? How might work on martial arts support vocal practices and training?

Other important problems which we think could be addressed in this issue include:
• Strategies, consequences and risks of adaptation of martial arts or their elements for performance training needs;
• Interrelations between martial arts and other training systems within one curriculum (the problem of syncretism);
• Martial arts in training for a specific performance type in terms of aesthetics and/or philosophy;
• Martial arts’ performance pedagogy and its organizational milieus: drama school, university, studio theatre, workshops, etc.
• Usefulness of the martial arts’ pedagogic strategy of dialectics of form and improvisation in performing arts training contexts; issues around imitation, form and discipline in martial arts – how do these aspects prepare performers for rehearsal and creative processes, if they indeed do? 

We welcome submissions from authors both inside and outside academic institutions, from professional practitioners and those who are currently undergoing training or who have experiences to tell from their training histories. To signal your intention to make a contribution to this special issue in any one of the ways identified above please email an abstract (max 250 words) to Paul Allain and Grzegorz Ziółkowski at: P.A.Allain@kent.ac.uk and grzeg@amu.edu.pl. Training Grounds proposals are to be made to Thomas Wilson (Thomas.Wilson@bruford.ac.uk), copied to Paul and Grzegorz.

Our deadline for these abstracts is 16th June 2021.

Theatre, Dance and Performance Training has three sections:

  • Articles” features contributions in a range of critical and scholarly formats (approx. 5,000-7,000 words)
  • “Sources” provides an outlet for the documentation and analysis of primary materials of performer training. We are particularly keen to receive material that documents the histories and contemporary practices associated with the issue’s theme.
  • Training Grounds” hosts shorter pieces, which are not peer reviewed, including essais, postcards, visual essays, speaking image (short text responding to a photo, drawing, visual score, etc.) and book or event reviews. We welcome a wide range of different proposals for contributions including edited interviews and previously unpublished archive or source material. We also welcome suggestions for recent books on the theme to be reviewed; or for foundational texts to be re-reviewed.

Innovative cross-over print/digital formats are possible, including the submission of audiovisual training materials, which can be housed on the online interactive Theatre, Dance and Performance Training journal blog: http://theatredanceperformancetraining.org/.

About Theatre, Dance and Performance Training (TDPT)

Special Issues of Theatre, Dance and Performance Training (TDPT) are an essential part of its offer and complement the open issues in each volume. TDPT is an international academic journal devoted to all aspects of ‘training’ (broadly defined) within the performing arts. It was founded in 2010 and launched its own blog in 2015. Our target readership comprises scholars and the many varieties of professional performers, makers, choreographers, directors, dramaturgs and composers working in theatre, dance, performance and live art who have an interest in the practices of training. TDPT’s co-editors are Jonathan Pitches (University of Leeds) and Libby Worth (Royal Holloway, University of London).

Issue Schedule

  • 16th June 2021: 250 word proposals to be submitted to Paul Allain and Grzegorz Ziółkowski at: P.A.Allain@kent.ac.uk and grzeg@amu.edu.pl.
  • Early July 2021: Response from editors and, if successful, invitation to submit contribution.
  • Early July 2021 to end October 2021: Writing/preparation period and submission of first drafts.
  • End October-End of December 2021: Peer review period.
  • January 2022: Author revisions, post peer review.
  • September 2022: publication as Vol. 13, Issue 3.

We look forward to hearing from you.

Call for TDPT Co-editor

Journal of Theatre, Dance and Performance Training (TDPT), Routledge.

The two editors of the international journal, Theatre, Dance and Performance Training, Professor Jonathan Pitches (University of Leeds) and Dr Libby Worth (Royal Holloway, University of London), are seeking to recruit a coeditor to join them on this very successful journal, published by Routledge.  Now in its 12th year, the journal has just moved to publishing 4 issues annually and attracts contributions from scholars and practitioners across the globe. It has a very active blog site, hosting multi-media content.

As the journal has grown in stature and in size, the editorial team has expanded, and we now have a group of associate editors and blog editors numbering over twenty individuals. True to our ethos of publishing and practising training, we seek someone who might be an ‘editor in waiting’, not necessarily fully versed in all the details of journal publication but with a deep-seated interest in performance training and with some experience of editing others’ work and engagement with academic journals.

While you may not be a fully fledged editor, you will need to bring strategic ambition and vision to the journal, helping us take TDPT into the next decade of its development with energy and imagination. Working on TDPT will offer you unique insights into academic publication and provide you with opportunities to expand your own networks with scholars and practitioners. You will be a key contributor, helping steer the journal’s direction and ensuring it keeps up to date and responsive to current ideas and movements in performance training.

You should be:

  • Invested in contemporary debates in training and performance and committed to the principles of ethical research.
  • Visionary and creative with clear ideas about how the journal can continue to develop and prosper.
  • Highly organised and efficient with excellent communication skills.
  • At your best when working in a tight-knit, collegiate team of editors and associate editors.

Editor’s responsibilities include:

  • Working with the other two co-editors of TDPT to set the strategic direction of the journal.
  • Upholding the highest levels of integrity in dealing with the journal’s contributors and content.
  • Liaising with the journal’s publishers, Routledge.
  • Collaborating with the TDPT extended team of associate editors (including blog and Training Grounds editors)
  • Sourcing (and liaising with) peer reviewers.
  • Becoming familiar with the the submission of manuscripts through the web-based peer review tool ScholarOne and the production platform CATS.
  • Commissioning and responding to proposals for Special Issues.
  • Sharing the writing of TDPT Editorials with the other editors.
  • Attending and helping to organise the Assistant Editors’ AGM and annual Training Grounds team meetings.
  • Supporting launch events for Special Issues and actively disseminating news about TDPT through social media.
  • Acting as an advocate for the journal at conferences and symposia.

TDPT is committed to fostering a culture of inclusion, respect and equality of opportunity for all. We will select candidates on the basis of merit, and ability and aspire to further diversifying our community. We particularly welcome and encourage applications from candidates who have historically been under-represented in our journal including, but not limited to: Black, Asian and ethnically diverse people; gender non-binary, transgender or gender fluid people; and people with disabilities. 

To apply please send a maximum two-page statement identifying how you see the journal developing over the next five years, plus an up-to-date CV. You may also want to include an assessment of your skills and interests along with a statement of what you would like to learn from working as co-editor. These can be sent directly to Jonathan Pitches and Libby Worth (details below).

For more information and an informal discussion please contact: Jonathan Pitches j.pitches@leeds.ac.uk and/or Libby Worth libby.worth@rhul.ac.uk.  Our consultant editor Simon Murray is also available for advice simon.murray@glasgow.ac.uk.  Finally, please feel free to contact any one of our international editorial board members, who can offer a more distanced but invested perspective on the journal’s culture and operation.

The post is unpaid but all expenses incurred in working for the journal are covered.

Deadline for applications

March 31st 2021

Interviews will be held in April

Call for Associate Editor (Peer review) for TDPT

Journal of Theatre, Dance and Performance Training (TDPT), Routledge.

TDPT has an international profile and wide remit covering a range of arts training. For instance recent special issues have expanded to include training for: Popular Performance, Voice, Live and Performance Art, Immersive Performance, Independent Dance and focus on training places such as Dartington College of Arts. Current political and cultural issues that impact on, and that are generated by, training for performance, are regularly addressed in both open submissions and Special Issues such as ‘Training Politics and Ideology’, ‘Intercultural Acting and Actor/Performer Training’ and most recently ‘Against the Canon’.

As the journal has expanded over the years to full quarterly status in 2020, the number of submissions to both the Special and open issues has risen substantially. This welcome enthusiasm for writing on and from performance training comes with additional demands on the peer review process. The journal operates a single blind anonymous review process (i.e. reviewer’s name is not revealed to the author) with two reviews for each article. Given this growing need, the TDPT editors see that there is an opportunity for a new role within the journal for an Associate Editor (Peer Review), to lead on the journal’s strategy for peer review and to help us ensure its continuing rigour and supportiveness.

The Role

As this is a new editorial position, we invite you to contribute to its development and shaping. We expect that you will gain valuable experience in editorial processes within a highly respected and lively journal. Contact with a wide range of peer reviewers will increase your network substantially and has the potential for you to offer mentoring. Given both the numerical increase in submissions and expansion of fields of interest we envisage the role as follows:

  • Researching internationally for appropriate reviewers for the wide range of articles submitted.
  • Expanding the pool of peer reviewers the journal can draw upon and developing a clear system for access.
  • Encouraging new scholars and practitioners unfamiliar with the reviewing process to contribute. This is an extension of our current practice in mentoring practitioners and new writers to submit to the journal and the blog.
  • To contribute to actions and discussion on peer reviewing that support the further diversifying of our contributor base. In particular it is important to invite engagement from those who have historically been under-represented in our journal.
  • To reach out and engage with related journal editors in the current lively debates on the ethics, challenges and potential of the peer reviewing process.
  • To work closely with the editorial team and with Routledge.

   You should be:

  • Interested and fully engaged in many aspects of performer training.
  • Very well organised with strengths in preparing spreadsheets or similar for easy retrieval of information.
  • Keen to participate as part of a close team and excellent at communication.
  • Interested and able to contribute within the wider related scholarly/artistic community on peer reviewing.
  • Eager to learn or develop your skills in editorial work within TDPT.

TDPT is committed to fostering a culture of inclusion, respect and equality of opportunity for all. We will select candidates on the basis of merit, and ability and aspire to further diversifying our community. We particularly welcome and encourage applications from candidates who have historically been under-represented in our journal including, but not limited to: Black, Asian and ethnically diverse people; gender non-binary, transgender or gender fluid people; and people with disabilities.

To apply please send a maximum one-page statement identifying how you see the journal’s approach to Peer Review developing over the next couple of years, plus an up-to-date CV. You may also want to include an assessment of your skills and interests along with a statement of what you would like to learn from working as an Associate Editor. These can be sent directly to Jonathan Pitches and Libby Worth (details below).

For more information and an informal discussion please contact: Jonathan Pitches j.pitches@leeds.ac.uk  and/or Libby Worth libby.worth@rhul.ac.uk.  Our consultant editor Simon Murray is also available for advice simon.murray@glasgow.ac.uk.   Finally, please feel free to contact any one of our international editorial board members, who can offer a more distanced but invested perspective on the journal’s culture and operation.

The post is unpaid but all expenses incurred in working for the journal are covered.

Deadline for applications

March 31st 2021

Interviews will be held in April

TDPT Issue 11.4 Published

We are delighted to announce issue 11.4 of TDPT.  With this issue we are formally ‘a Quarterly’, both in the planning and the execution. As you will see, this is another very full issue, replete with six long-form articles, threaded through with postcards, a vibrant transcribed discussion, book and event reviews and a beautiful obituary, marking the passing of our dear friend Ali Hodge, and complementing a moving series of blog posts already published.

Look out for another innovation too: Speaking Image which takes forward – in microcosm – a key debate we have been having in the journal since its inception: how are embodied training practices communicated across media – and what does the interplay of image and word offer to this communication?

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Contents

Editorial

Editorial: dedicated to the memory of Alison Hodge (1959–2019)
Jonathan Pitches, Libby Worth, Thomas Wilson & Roanna Mitchell

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The Practice Diaries Exchange: Call for Proposals

In the last session of The Practice Diaries Exchange, we reflected on whether history matters to artists’ training or practice. We have received reflections from three diverse training practices – acting, improvisation, and martial arts. It is thought-provoking to hear varied voices on one topic! If you missed these inspiring articles, please check out the link http://theatredanceperformancetraining.org/category/the-practice-diaries-exchange/

The Practice Diaries Exchange is now launching a new topic for discussion. We welcome the proposal of questions from all artists, practitioners, researchers, students and blog readers who are interested in training or practicing processes of performing arts. The questions related to training/practice could come from your experiences, something you have been contemplating, or from a sudden creative idea. We welcome questions arising from or responding to the current pandemic era that has greatly influenced and/or changed artistic training/practices. However, questions are not limited to this suggestion. A proposal could include a short description to expand on the question.

Please send a proposal to the section editor, I-Ying Wu, at ginggingla@gmail.com before 10 December, 2020. The proposals that are not selected for this session could be scheduled to post in following sessions.

Arts Archives and Theatre Papers

The not-for-profit documentation project ARTS ARCHIVES and THEATRE PAPERS — a millennium compendium of performance practice research 1985–2015 — is closing and going into the British Library where it will sit alongside the International Workshop Festival collection. The material is also in the special collections at Exeter University as part of Exeter Digital Archives of performance research.  

https://humanities.exeter.ac.uk/drama/research/projects/eda/

However, if anybody is interested in obtaining at cost a private copy of all the material – it has been placed onto one sd card — for their own research and teaching, could they please get in touch.  You can see catalogues of the material at www.arts-archives.org 

Peter Hulton  

P.R.Hulton@exeter.ac.uk 

Call for Papers: Laban for Actors and in Acting Online Conference

Athens, 8-10 January 2021

The Laban for Actors and in Acting is an International Conference held under the auspices of The Makings of the Actor, the Michael Cacoyiannis Foundation, the Labanarium and Hellinoekdotiki, organized by Post-doctoral Researcher Dr Kiki Selioni, Royal Central School of Speech and Drama, University of London.  

The Makings of the Actoris organising a series of conferences based on books from international research practitioners discussing in theory and presenting in practice their works. Practitioner’s books are always a difficult task due to the struggle they have transferring practice into the written form of a book. Although there is always the possibility of recorded documentation with regards to practical work however this is unsatisfactory for practitioners to present their work in a complete way. Current practices like webinars offers a better understanding but still there is no immediate communication that can offer debates, questions and finally exchange of knowledge.

To submit a proposal, please visit the conference website:

https://themakingsactor.com/

The Performative Power of Vocality, Book Launch.

Free online book launch event for the monograph The Performative Power of Vocality by Virginie Magnat, published by Routledge in 2020 (https://virginiemagnat.space/the-performative-power-of-vocality).

This event will be hosted by the University of British Columbia Center for Mindful Engagement and Dr. Magnat will be joined by two special guests, Indigenous scholar Dr. Vicki Kelly and French scholar Dr. Nathalie Gauthard, who are members of the “Culture, Creativity, Health and Well-Being” Research Cluster that Dr. Magnat co-leads with Dr. Karen Ragoonaden (https://eminencecluster.weebly.com).

When: Dec 3, 2020 11:00 AM Vancouver  – please see digital poster attached.

Please register in advance for this meeting:

https://ubc.zoom.us/meeting/register/u5Yrf-yqqzgvGdJQO0gN-a0j3_05EN7FuJx-

After registering, you will receive a confirmation email containing information about joining the meeting.

Call for Papers: TDPT 13.2 Special Issue on Performance Training and Well-Being.

Image: Arvin Singh Uzonov Dang, July 29, 2020.
Performance: Magnat, V. (2020). ’alhut (Hul’q’umi’num’ word meaning to honor, to look after, to be very careful with, to restore).

An Embodied Land Acknowledgement honoring the Sc’ianew First Nation’s traditional, ancestral and unceded territory (V. Magnat, 2020).

Theatre, Dance and Performance Training (TDPT)

Special issue Performance Training and Well-Being to be published June 2022

Call for contributions, ideas, proposals and dialogue with the editors

Guest editors: Dr. Virginie Magnat, University of British Columbia, Canada (virginie.magnat@ubc.ca) and Dr. Nathalie Gauthard, Université d’Artois, France (ngauthard@orange.fr).

Performance Training and Well-Being (Issue 13.2)

Conceived as a way of foregrounding the relevance of performance-based artistic practices in response to the current health crisis caused by the global pandemic, as well as a way of challenging neoliberal conceptions of creativity and performance as hallmarks of capitalist productivity, adaptability, and efficacy, this special issue will explore the relationship between performance training and the notion of well-being, broadly conceived, to reignite, reconfigure, revitalize, renew and/or reimagine their inter- and/or intra-action.

We seek contributions by performance and theatre studies scholar-practitioners, artists, educators, and activists ​committed to critically and reflexively investigating the cultural, social, political, ecological, and spiritual dimensions of performance training modalities that have the potential to promote, enhance, restore, and sustain the well-being of practitioners, audiences, and other/more-than-human participants and collaborators.

We are committed to integrating the perspectives of non-Western and Indigenous scholars and artists, and welcome contributions examining the ethical implications of conducting research on performance and well-being in the neoliberal academy, as well as decolonizing approaches to performance training that take into account the ​well-being of culturally diverse communities.

This special issue will therefore respond to the urgent need to acknowledge and to include multiple ways of knowing and being within Eurocentric paradigms that still inform dominant knowledge systems.

The contested term “well-being” is intended as a generative provocation. In this light, potential contributors are invited to engage with topics and questions such as:

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Virtual book launch for Somatic Voices in Performance Research and Beyond

This video wishes to offer an audiovisual introduction to the book Somatic Voices in Performance Research and Beyond (Kapadocha, 2021), released on October 22, 2020. 

In response to the current circumstances, this alternative book launch is a compilation of material produced using easily available technological means. The intention is to warmly “welcome” the readers (listeners-viewers-movers-voicers) to the multi-experiential world of the book. This practice-research project sprang out of times without physical distancing and it is shared at a very critical moment which I would argue that for multiple reasons suggests a new “somatic turn” (Kapadocha, 2021, 2-3). 

The reading experience of the book is complemented by a Routledge and a CHASE webpages.

Hope you will enjoy the project!

Christina

Acknowledgements

Thanks to the contributors who enthusiastically responded to this last invitation. Thanks to the current actors in training at East 15 Acting School (MA Acting), who gave me permission to use footage from our second physically-distanced class.    

References 

Kapadocha, C. (2021) Introduction: Somatic voice studies in Somatic Voices in Performance Research and Beyond. Oxon and New York: Routledge. 

The S Word: Teaching Stanislavsky Online

A webinar brought to you by the Stanislavsky Research Centre, co-hosted by the School of Performance and Cultural Industries of the University of Leeds and the School of Performing Arts of the University of Malta.

Date: 4 November, 17:00 (GMT – London Time)

‘A Slice of Zoom Life: Uta Hagen’s Object Exercises in the COVID Era’

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Prof. David Shirley, Executive Director, Western Australian Academy of Performing Arts, Edith Cowan University, Perth, Australia

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Following a brief contextual overview of the aims and purpose of Hagen’s training techniques, this presentation will reflect on the advantages and challenges encountered during the delivery of a series of classes to first year actors at the Western Australian Academy of Performing Arts (WAAPA) during April-June 2020. How do notions of authenticity change in this context and how important is the role of the actor’s imagination in this reconfigured approach to practical training.

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‘Psychophysical Actor Training for the Small Screen’

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Prof. Stephanie Daventry French, Professor of Theatre, East Stroudsburg University, Pennsylvania, US

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French will demonstrate subtle mind-body exercises using the anatomy of thought (WEDGAG).  These have the power to create a sculptural story through the body, stimulate inner life and thoughts in the circumstances, and activate emotions.

Session Moderated by Stefan Aquilina, Director, School of Performing Arts, University of Malta

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Registration:

https://universityofmalta.zoom.us/webinar/register/WN_Zy3fq0iVSryUdFIq4-Bcqg

TDPT 11.3 Against the Canon

We are delighted to announce the publication of Theatre, Dance and Performance Training 11.3, “Against the Canon, guest edited by Mark Evans (Coventry University) and Cass Fleming (Goldsmiths University), with Training Grounds section edited by Sara Reed (Coventry University)

This special issue of Theatre, Dance and Performer Training addresses the forgotten and marginalised contributions made by various collaborative artists and practitioners to the development of performer training during the twentieth and twenty first centuries. 

Many previous publications on training have tended to focus on canonical figures and the dominant historical performer-training narratives. Less attention has been paid to collaboration as an important characteristic of avant-garde performance training, and to the complex exchanges through which pedagogy and work has been developed and disseminated.  This journal issue intentionally centralises these acts of cross-fertilisation and collaborative exchanges, thereby shifting the focus away from canonical individual figures and towards frequently overlooked or under-recognised practitioners and pedagogues. In doing so, we are aware that this special issue is not alone in advocating for such a shift of focus. In many respects we see this issue as one particular marking point in a turn away from a linear, white and patriarchal history of theatre, dance and performance training.

Our contributing authors challenge the manner in which traditional performer training histories often still seek to capture the ‘purity’ of established methods and to identify individual (often white male) owners of successful techniques.  This issue will seek to challenge the ways in which practitioners such as Stanislavsky, Craig, Copeau, Laban, Lecoq, Chekhov and Meisner are often uncritically revered as ‘Master Teachers’ and the ways in which this obscures or negates the existence of wider networks of artists who contributed to the development of these training practices, many of whom were women. To this extent our authors are not looking simply to critique existing canonical figures, but to bring forward the work of those who are usually ignored.

Contents

Editorial

Mark Evans, Cass Fleming & Sara Reed

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Tributes for Ali Hodge (1959 – 2019)

Ali was a long term and loyal supporter of Theatre, Dance and Performance Training and, as an innovative and rigorous advocate of the importance of research in performer training, a significant presence on the editorial board. There is little question that Ali’s texts such as Twentieth Century Actor Training (Routledge, 1999) and the second edition Actor Training (Routledge, 2010) were acclaimed when first published and remain valued and important resources for theatre artists and researchers. So too, her work with Wlodzimierz Staniewski, Hidden Territories: The Theatres of Gardzienice (with DVD, Routledge 2003) provide detailed analyses of the Polish company’s training and performance making processes, whilst Core Training for the Relational Actor (with DVD, Routledge, 2013) revealed much about her decades long development of directorial work with her company The Quick and the Dead. However, the following series of reminiscences open up a different kind of space in which to celebrate and reflect on Ali’s lifelong journey in theatre practice, together with the impact she had on those she met. The voices of some of those who worked and lived most closely with Ali, over different periods of her life, speak out in their own manner about what was distinctive and important to each of them in their contact with her. Each emphasises the essential connection between the personal and the professional in her work, her humour, courage, generosity, insight and rigour. The series of recollections, grouped very roughly around the place, company or type of work she undertook, opens with Chris Hurford’s, Ali’s husband, invocation of her passionate drive to ensure that theatre, through its performers, communicated meaningfully and compassionately. And they end with Ruth Way’s memory of Ali’s joy in her ‘incredible vegetable patch’.

These tributes for Ali sit together with an appreciation of her life written for the journal by Katie Normington.  

Reading through these recollections reminded me of one of the aspects I found most compelling when working with Ali during her time at Royal Holloway This was her capacity to step back from an assessment or directing moment and pause before offering penetrating questions. Her own spaciousness in allowing time for the response process to happen, encouraged those she worked with the same freedom — to take time, to think, to reflect and importantly to gain perspective on even the most challenging, emotionally charged movement and vocal work.

Ali’s husband, Chris Hurford (who’s reflection is immediately below), has just completed work on www.alihodge.com, a website dedicated to Ali’s work. It is primarily intended as a resource and a portal for students, practitioners and academics — as many have already expressed an interest in such a site. For those who knew Ali it also is a great reminder of her extraordinary achievements. 

Please feel free to comment below or contact the Blog editors to submit a post if you wish to add your thoughts, this is the beauty of a blog space.

Libby Worth Reader in Contemporary Performance Practices, Royal Holloway and Co-editor with Jonathan Pitches, Theatre, Dance and Performance Training. 

Fig 1. Ali in Poland, photographer unknown.
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ATHE Awards: Konstantinos Thomaidis’ Honorable Mention for Excellence in Editing on TDPT 10.3, ‘What is new is voice training?’

Huge congratulations from all at TDPT to Konstantinos Thomaidis who has just won the Honourable Mention for Excellence in Editing at this year’s ATHE Awards, for his special issue for TDPT ‘What is new in voice training?’ 10.3. The award was announced today at the annual (online) conference. The full list of winners and mentions in this category are posted here.

Konstantinos’ success arises from his tremendous hard work and dedication as a guest editor on the journal combined with his extensive knowledge and experience in the field of voice studies. Jonathan and I as co-editors were full of admiration at the way Konstantinos overcame some initial setbacks that were out of his control to ensure the quality and adventurousness of the issue.

In his introduction to the special issue Konstantinos offers a brief survey of the literature and practices of the ‘emergent field of voice studies’ and comments in the following way:

‘These studies have invited us to listen to the voice anew: voice as that which encompasses and exceeds textuality and linguistic meaning-making, voice as embodied and materially intersubjective; voice as both individual and political, affective and ideological, semantically potent and pragmatically interpolated, demandingly present and abjectly haunted – as simultaneously knowable and perpetually undefinable.’ (2019: 295).

And listen he does in his role as guest editor, inviting us to engage with the wide range of authors who address ‘what is new’ through both varied content and in a range of different formats.

To celebrate this achievement, Taylor and Francis Online and the Theatre, Dance and Performance Training journal has made the following three articles from the Special Issue free to view until October:

Beth Osnes, Chelsea Hackett, Jen Walentas Lewon, Norma Baján & Christine Brennan (2019) Vocal Empowerment Curriculum for young Maya Guatemalan women, Theatre, Dance and Performance Training, 10:3, 313-331, DOI: 10.1080/19443927.2019.1637371

Konstantinos Thomaidis (2019) Between preservation and renewal: reconsidering technology in contemporary pansori training, Theatre, Dance and Performance Training, 10:3, 418-438, DOI: 10.1080/19443927.2019.1645040

Mel Drake (2019) ‘Next year’s words await another voice’1: British Sign Language and voice work with D/deaf actors at the Royal Conservatoire of Scotland, Theatre, Dance and Performance Training, 10:3, 448-454, DOI: 10.1080/19443927.2019.1677388

Click here to see the full list of authors and issue contents as well as Blog posts related to the issue.

At a time when TDPT had to postpone its 10th Birthday celebrations it’s wonderful to have this moment of success, an opportunity to raise a glass to Konstantinos and shout out our congratulations – whilst listening anew, of course, to our voices. 

TDPT 11.2. Training for Performance Art and Live Art

We are delighted to announce the publication of Theatre, Dance and Performance Training 11.2, Training for Performance Art and Live Art, guest edited by Heike Roms (University of Exeter).

The view that one can only practice and not practice for performance art and live art has persisted since the emergence of time-, body-, and action-based performance artworks in the 1960s. After all, to speak of ‘training’ evokes ideas of technique, mastery or tradition, ideas that the artists engaged in performance art and live art have frequently sought to challenge or altogether abandon. However, many of the artists who have shaped the history of performance art and live art have also been committed teachers; pedagogical approaches to performance practices emerged at the same time as the practices themselves; educational institutions have frequently offered material support for the making of performance works and provided a living for artists; and artist-led, non-institutional training spaces have adopted events and publications as alternative forms of curricula. Acknowledging the importance of training not just in the formation of a performance artist but as part of their continuing practice also means to value experience, expertise and professional standing as part of the work of performance art and live art.

This special issue brings together contributions that address the theme of training for performance art and live art in reference to different histories (covering the 1960s and 1970s as well as the recent present); diverse geographies (examining developments in the UK and in Portugal); institutions and anti-institutions (covering art schools, summer schools, festivals and workshop programmes); and varied approaches to teaching and training as a performative inter-generational transaction.

Gavin Butt’s ‘Without Walls: Performance Art and Pedagogy at the “Bauhaus of the North”’ traces the impact of libertarian teaching in the 1970s at arguably the most influential teaching institutions for the history of performance art in the UK, Leeds Polytechnic. In ‘Lessons from Outside the Classroom: Performance Pedagogies in Portugal, 1970-1980’, Cláudia Madeira and Fernando Matos Oliveira recount approaches to performance training as they developed in Portugal in the wake of the 1974 revolution outside of formal institutions.

Deirdre Heddon’s ‘Professional Development for Live Artists: Doing it Yourself’ explores the history of the DIY professional development scheme as an example for how training practices are being reimagined as live art practices in themselves. In ‘Training for Live Art: Process Pedagogies and New Moves International’s Winter Schools’, Stephen Greer examines the New Moves International (NMI)’s winter school as another key example for an artist-led scheme that made productive live art’s resistant relationship to established forms of performer training.

In ‘“I’ve been as intimate with him as I have been with anybody”: Queer Approaches, Encounters and Exchanges as Live Art Performer Training’, Kieran Sellars identifies in the cross-generational performance collaboration between Sheree Rose and Martin O’Brien a form of queer embodied discipline that draws on BDSM as well as Live Art lineages. And in ‘Curious Methods–Pedagogy Through Performance’, Leslie Hill and Helen Paris document the close ways in which their training methods have reflected on and contributed to their creation of live performance work.

The Training Grounds section (edited by Bryan Brown) supplements this with a collection of shorter essais, postcards, and a book review (edited by Chris Hays). Will Dickie’s expanded essai (accompanied by videos available here on the TDPT blog) investigates the application of psychophysical actor training to live art. In the issue’s second essai, a trio of practitioners (Áine Phillips, Dominic Thorpe and Tara Carroll) offer insight into three generations of Irish live art practice by detailing transformative encounters with their teachers. The two postcards for this special issue (by Sara Zaltash and N. Eda Erçin) wrestle with the entanglements of live art practice, life and communities. And Campbell Edinborough’s review of Marina Abramović’s memoir Walk Through Walls furthers the discussion of how a live artist’s work is their life while querying the ability to turn that life into a method.

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Phillip Zarrilli — Kaite O’Reilly’s Letter

Below I have posted a letter from Kaite O’Reilly regarding the recent passing of Phillip Zarrilli. While this may not be news to some of you, I wanted to pay tribute to Phillip on this platform in the most fitting way. In the coming months, we will be posting reflections on Phillip’s work from some of his alumni, and if you would like to contribute, please feel free to comment on this post or contact me at jimmyacademy@gmail.com if you would like to write a stand-alone post from your own perspective. Rest in peace Phillip.

Kaite’s Letter:

On 9th March 2020 when Phillip received the news from his oncologist that the cancer he had been living with for fourteen years had begun to ‘seriously party’ (his words) he said to me ‘this is our last adventure together.’

I have been so fortunate, having this great mind, this gentle and generous man as my companion in so many ways – loving, working, living, travelling, thinking, writing and making performance alongside him for twenty one years, with and without The Llanarth Group. The journey may continue, but now it is in parallel, perhaps, not our accustomed hip-to-hip together.

Phillip died on 28th April 2020 at 13.52 UK time. He rode out on a breath – like so many times in his teaching he spoke of riding the breath to that moment of completion at the end of exhalation – the space in-between at the end of one cycle before the impulse of the next inhalation begins. This time came no inhalation.

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Gill Clarke Bursaries

Independent Dance and Siobhan Davies Dance are offering bursaries of between 5k – 8k to support students on the jointly delivered MA/MFA Creative Practice: Dance Professional Practice Pathway, run in partnership with Trinity Laban.  The bursaries, named after founder Gill Clarke, are supported by The Leverhulme Trust. 

This MA/MFA course, now in its tenth year, is designed to provide a flexible programme of study and an environment of rigorous creative enquiry, supporting practicing artists in their further development. Studio practice is accompanied by reflective and theoretical study; modules are devised to be conversant with one another, allowing for an interdisciplinary approach individual research. Areas of study range across perspectives, including theoretical and philosophical underpinning of arts practice,  in visual art, film making, writing and embodied practice and other disciplines. 

To be able to apply for a bursary, you must have applied and been accepted onto the MA/MFA Creative Practice: Dance Professional Practice Pathway. For all information about the bursary, please see click here.

International and UK-based students are eligible for bursary awards.

DEADLINE
Deadline for bursary applications for 2020/21: Monday 22 June, 5pm.
On time deadline for course applications to be able to apply for the Gill Clarke Bursary: 15 June 2020.
Applications to the course can be submitted after this date, but won’t be eligible for the Gill Clarke Bursary.

Other bursaries are also available from Trinity Laban. Click here to find out about more funding opportunities.

Anyone interested in applying is welcome to have an informal conversation: please email Independent Dance at info@independentdance.co.uk

AntigoneNOW: rehearsing, making and performing Antigone online

Sinéad Rushe, May 2020

24 hour streaming on 22 May, 2020
midnight (22) to midnight (23) Pacific Standard Time

I was invited as the Spring 2020 Granada Artist in Residence to the University of California Davis to direct a stage production of the Greek tragedy, Antigone, at the Wyatt theatre, in the Seamus Heaney translation. With lockdown, when it was becoming clear that I wasn’t going to be able to go, my American collaborator Margaret Kemp and I started to imagine what we could do instead. Given that we were in a world pandemic, a global crisis, it felt essential to try still to do something. How could we follow through on our collaboration, creativity and community engagement in this unprecedented moment in history? How could we create a piece that would speak to this crisis? We decided to make a performance film instead, rehearsing online, creating it online and performing it online.

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TDPT Issue 11.1 published — celebrating 10 years of the journal

We are delighted to flag up the publication of 11.1 – the open issue of TDPT and the one that marks the completion of 10 years of the journal. It was disappointing to have to postpone TDPT birthday celebrations, due to Covid-19, planned for Leeds earlier in the month. However, the flood of appreciative emails that came in marking the 10th Birthday were heart-warming and inspiration for the next decade.

When you have had a chance to look through the contents do feel free to respond in our Comeback pages of the blog. We’d love to hear reactions to this diverse and lively collection of contributions.

Volume 11 Issue, 1 March 2020

CONTENTS

Editorial
Libby Worth, Jonathan Pitches and Thomas Wilson

Articles

Student and teacher attitudes towards overtraining and recovery in vocational dance training
Peta Blevins, Shona Erskine, Gene Moyle, and Luke Hopper

From bodymind to bodyworld: the case of mask work as a training for the senses
Frank Camilleri

Essai
On horses and contact
Thomas Wilson

Articles

How might Embodied Cognition, Contact Improvisation and Meisner’s Standard Repetition Exercise together illuminate actor movement training? Tine Damborg

The first class: Harold Lang and the beginnings of Stanislavskian teaching in the British conservatoire
Vladimir Mirodan

Emotional character: the prospects for a personality-based perspective on embodied learning in dance
Edward C. Warburton

Examining the pedagogy of theatre lighting
Kelli Zezulka

Events Review
Michael Chekhov Advanced Masterclass at Rose Bruford College of Theatre and Performance July 15th–19th 2019, led by Lisa Dalton and Janice Orlandi
Aiden Condron

Reviews

Performing Architectures: Projects, Practices, Pedagogies
Tessa Rixon

Creativity and the Performing Artist: Behind the Mask
Mark Seton

Correction
I Correction

Notes on Contributors

The Editors

Jonathan Pitches is Professor of Theatre and Performance at the University of Leeds in the School of Performance and Cultural Industries. He specialises in the study of performer training and has wider interests in intercultural performance, environmental performance and blended learning. He is founding co-editor of the TDPT and has published several books in this area: Vsevolod Meyerhold (2003), Science and the Stanislavsky Tradition of Acting (2006/9), Russians in Britain (2012) and, Stanislavsky in the World (with Dr Stefan Aquilina 2017). His most recent publications are: Great Stage Directors Vol 3: Komisarjevsky, Copeau, Guthrie (Sole editor, 2018) and the monograph, Performing Landscapes: Mountains (2019).

Libby Worth is Reader in Contemporary Performance Practices, Royal Holloway, University of London. She is a movement practitioner with research interests in the Feldenkrais Method, physical theatres, site-based performance and in folk/traditional and amateur dance. Performances include co-devised duets; Step Feather Stitch (2012)and dance film Passing Between Folds (2017).She is co-editor of TDPT and published texts include Anna Halprin (2004, co-authored), Ninette de Valois: Adventurous Traditionalist (2012, co-edited), Jasmin Vardimon’s Dance Theatre: Movement, Memory and Metaphor (2016). Chapter contributions include on clog and sword dancing for Time and Performer Training (2019, she co-edited) and ‘Improvisation in Dance and the Movement of Everyday Life’ for the Oxford Handbook of Dance Improvisation (2019).

Training grounds editors

Aiden Condron has been an actor, performance maker and actor trainer for over twenty-five years working across the UK, Europe and the US. He is a Lecturer in Acting at The Institute of the Arts Barcelona (IAB). Aiden was founding artistic director of Nervousystem, a Dublin-based international performance laboratory from 2002–2012. Recent theatre work includes performances in a number of works by Samuel Beckett including Westward Ho, Ohio Impromptu and That Time, performed in Japan and Russia. Aiden’s current teaching and research activity investigates processes and practices of actor and performer training within the domain of presence, play and action, examining the actor’s dramaturgy as a field of autonomous creation.

Chris Hay is Lecturer in Drama in the School of Communication & Arts at the University of Queensland, Australia. Prior to this position, he held appointments at the University of New England, the National Institute of Dramatic Art (NIDA), and the University of Sydney, where he completed his PhD in Theatre & Performance Studies in 2014. He has published on Australian theatre history and creative arts pedagogy, including his book Creativity, Knowledge & Failure: a new pedagogical framework for creative arts (2016). His current research projects examine the origins of Australian government arts funding, and Australia’s participation in the Eurovision Song Contest.

Thomas J. M. Wilson is a Module/Year Coordinator for BA (Hons) European Theatre Arts at Rose Bruford College of Theatre and Performance, and a Fellow of the Higher Education Academy. Initially training in Equestrian Vaulting he competed at European-level in the mid-1990s. Subsequently he has engaged in practices rooted in the intersection between dance and theatre methodologies, working as both a performer and director/choreographer in a range of contexts. Thomas served on Oxford Dance Forum’s Steering Group (2008–10) and has regularly contributed to Total Theatre Magazine since 2001. He is an Associate of Gandini Juggling working as their Archivist and Publications Author. He is the author of Juggling Trajectories: Gandini Juggling 1991–2015, which was shortlisted for The Society of Theatre Research Book Prize 2016.

The Contributors for 11.1

Dr Peta Blevins is a sessional academic at the Western Australian Academy of Performing Arts and works as a freelance dance educator, researcher, and performance consultant specialising in dance and performance psychology, safe dance practice, and mindfulness skills for performance. Her research interests include enhancing psychological recovery in dance, mindfulness and performance, and health and wellbeing in the performing arts. Peta is a member of the International Association of Dance Medicine and Science, and is currently a National Executive Committee Member of the Australian Society of Performing Arts Healthcare.

Frank Camilleri is Associate Professor in Theatre Studies at the University of Malta where he also directs the School of Performing Arts’ research group for 21st Century Studies in Performance. He is Artistic Director and founder of Icarus Performance Project, which serves as the main platform of his practice as research (www.icarusproject.info). He has performed and given workshops since 1989, and has published various texts on performer training, theatre as a laboratory, and practice as research. He is the author of Performer Training Reconfigured: Post-psychophysical Perspectives for the Twenty-first Century (Methuen Drama 2019).

Tine Damborg (DK), graduated as a Master of Fine Arts in Movement: Teaching & Directing, from Royal Central School of Speech and Drama (2016-2018). She holds the equivalent to a BA in Contemporary Dance from The Danish School of Performing Arts (1992-1995) and has worked as a freelance dancer and performer in dance shows, performances, rock-musicals, touring children’s theatre, and site specific works. In 2005 she began to develop her dance, movement and yoga -teacher practice. In 2005 she founded the Danish youth contemporary dance company, “U-kompagniet” and works as a movement specialist at The Danish School of Performing Arts, Acting department in Odense. (EDITED BY EN)

Dr Shona Erskine is a registered psychologist in private practice and an Adjunct Lecturer at the Western Australian Academy of Performing Arts, Edith Cowan University. Dr Erskine has an expertise in delivering psychology for performing artists through professional companies, universities, and in private practice. Dr Erskine has developed curriculum in areas of mental wellbeing and creativity with an interest in disseminating best practice models to performing artist, teachers, and directors.

Dr Luke Hopper is a lecturer and Director of the Dance Research Group at the Western Australian Academy of Performing Arts. Dr Hopper has published over 20 papers in the field of performing arts health in collaboration with major ballet companies and industry partners. In the interests of disseminating of health evidence which prevents injury and illness in performing artists, Dr Hopper has served on the Board of Directors (2014-2016) of the International Association of Dance Medicine and Science and as President of the Australian Society for Performing Arts Healthcare.

Vladimir Mirodan, PhD, FRSA is Emeritus Professor of Theatre, University of the Arts London.  Trained on the Directors Course at Drama Centre London, he has directed over 50 productions in the UK as well as internationally and has taught and directed in most leading drama schools in the UK.  He was Director of the School of Performance at Rose Bruford College, Vice-Principal and Director of Drama at the Royal Conservatoire of Scotland, Principal of Drama Centre London and Director of Development and Research Leader, Drama and Performance, Central Saint Martins. He is currently the Chair of the Directors Guild of Great Britain Trust and of the Directors Charitable Foundation.

Professor Gene Moyle is a graduate from the Australian Ballet School and QUT Dance, retraining as a sport and exercise psychologist following a brief career as a professional dancer. Gene has focused upon both the application and research of performance psychology and performance enhancement, particularly within the performing arts and has significant experience in working with and leading multidisciplinary teams within high performance settings (i.e., Olympic programs). She possesses specific expertise in the area of career development and transition in both elite sport and the performing arts, and contributes regularly to the literature on the ethical considerations of sport, exercise and performance psychology practice.

Edward C. Warburton is Professor of Dance at the University of California, Santa Cruz. Warburton received early training at the (U)North Carolina School of the Arts and danced professionally with American Ballet Theater II, Houston Ballet and Boston Ballet. His interest in cognitive dance studies began when studying for a doctorate in human development and psychology at Harvard University. A widely published author, his research explores the relational practices and cognitive processes that support (or undermine) the doing, making, and viewing of dance. Warburton is the recipient of several awards including UCSC’s Excellence in Research (2012), the U.S. National Dance Education Organization’s Outstanding Dance Researcher (2016), and Teachers College’s Sachs Distinguished Lecturer at Columbia University, New York City, NY (2017).

Kelli Zezulka is a postgraduate researcher in the School of Performance and Cultural Industries at University of Leeds. A practising lighting designer, she is also a non-executive director of the Association of Lighting Designers and editor of its bi-monthly magazine, Focus. Her research interests include theatre lighting education, creative collaboration, early lighting designers in the UK (1950s to 1960s), trans-languaging and code-switching, and interactional sociolinguistics.

Extended Deadline for Proposals: TDPT Special Issue: Independent Dance and Movement Training

Dear Colleagues,

Given the Covid-19 dramatic changes to life over the last weeks, we have extended the deadline for proposal submissions to the guest editors for the special issue of Theatre, Dance and Performance Training on ‘Independent dance and movement training to 24th April 2020.

Please would you circulate widely amongst Independent Dance and Movement academics and practitioners?

Many thanks,

                         Libby

Please see the updated Call for Proposals here:

CfP: TDPT Special issue: Performer Training in Australia

Special issue on Performer Training in Australia to be published as TDPT Vol 12.3 (September 2021)

Call for contributions, ideas, proposals and dialogue with the editors

Guest editors:
Dr Chris Hay, University of Queensland (chris.hay@uq.edu.au)
Professor David Shirley, Western Australian Academy of Performing Arts, Edith Cowan University (d.shirley@ecu.edu.au)
Dr Sarah Peters, Flinders University (sarah.peters@flinders.edu.au)
Training Grounds editor:
Dr Soseh Yekanians, Charles Sturt University (syekanians@csu.edu.au)

Conjoined with blood and tears, the axiomatic price of supreme rigour and achievement. Sweat (water, ammonia, salt, sugar) is deemed a noble and miraculous secretion, yet we habitually strive to disguise it. […] In the unapologetic seclusion of the training space, it becomes the proof of our proud status as grafters, as corporeal, visceral, present, working.

As described in Theatre, Dance and Performance Training’s “A Lexicon of Training Terms” (3.1), sweat is a constituent part of training — a synecdoche for the tension and effort that underpin it. Sweat is also a precondition of living and training in Australia, from our corporeal engagement with a heating continent to the metaphorical ‘she’ll be right, mate’. This no sweat, laissez-faire acceptance of the status quo finds its way into training through “a willingness to ‘have a go’; a refusal to be cowed by received authority […] a characteristically Australian suspicion of influence” (Maxwell 2017, p. 326).

The image of sweat also brings with it metaphors of fear, tension and anxiety, often drawn out or extended. This sense of determination over time pushes back against a conception of Australia as the rushed continent, whose artists seek to take short cuts to success. Hugh Hunt, the inaugural director of the Australian Elizabethan Theatre Trust, cautioned as much in a 1959 public lecture:

We sometimes expect theatre to be made too quickly. Australians are impatient people, who would like their theatre to be made as quickly as wool grows on a sheep’s back. It takes many years to make it; it takes time to train and develop actors and producers. (Hunt 1960, p. 4)

What has changed since Hunt’s proclamations? What is the labour of training in Australia, and how do we train an “impatient people”? In a country where sweat comes easily, do we mistake the by-product of hard work for the work itself? Hunt, like many others in Australian performance history, speaks only for white Australians: how do (or might?) the distinctive temporalities, collaborative modalities, and lineages of practice of First Nations training and performance inflect performer training in Australia?

Despite the diversity and range of its performance ecology and the prestige in which its major training institutions are held, Australia’s influence in and contribution to key debates has, until fairly recently, remained surprisingly marginal. While much doctoral-level work has considered training in Australia, there is no authoritative, published history of Australian performer training. The history of training is thus another iteration of what Ian Maxwell terms “Australian theatrical bricolage” (2017, p. 338), its history an assemblage of sometimes contradictory facts, uncertain pathways, and unsubstantiated anecdote. In this special issue of TDPT, we endeavour to provide an update to Meredith Rogers and Elizabeth Schafer’s special issue of Australasian Drama Studies “Lineages, Techniques, Training and Tradition” (vol. 53, 2008). We also seek to curate a companion to the roundtable discussion “Training in a Cold Climate”, published in Theatre, Dance and Performance Training 5.2, by considering training in a hot climate.

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Why does Movement Matter?

Explore the past and future of movement as a maker of meaning in theatre. Join world-leading industry professionals including performers, practitioners, directors, teachers and movement influencers for a series of workshops, presentations, discussions and observations.

This one-day symposium will explore the wide-ranging influences that movement has within today’s leading theatres and institutions and will look in more detail at the variety of practices that are now available. We will instigate conversations about the vital contribution movement practice and movement direction make to the industry. There will be open discussion, professional networking and the chance for emerging and established artists to share their work.

This event interrogates and celebrates how this powerful aspect of storytelling in theatre, film and television continues to shape developments in productions and training.

Booking

Tickets £50. Booking is made online, once you have booked your place at the event you will be sent an email requiring your choice of workshops.

https://www.rada.ac.uk/whats-on/movement-symposium/

Schedule

  • 9.15am Registration and welcome breakfast
  • 10am Keynote speaker
  • 10.30am Theatre industry panel
  • 11.45am Masterclass or two short workshops
  • 12.45pm Lunch provided
  • 1.30pm Keynote speaker
  • 2.15pm Industry practitioner panel discussion
  • 3.15pm Masterclass or two short workshops
  • 4.30pm Plenary session
  • 6pm Networking and drinks

Location: RADA Studios, 16 Chenies Street, London WC1E 7EX

Speakers, workshop leaders and panel members include:

Clare Brennan, Mike Alfreds, Vladimir Mirodan, Christina Fulcher, Ruth Anna Phillips, Ita O’Brien, Ingrid McKinnon, Lizzie Ballinger, Paul Christie, Nicola Herd, Hannah Garner, Pascale Lecoq, Jos Houben, Sue Lefton, Jane Gibson, Toby Jones, Nancy Meckler, Annabel Arden, Peta Lily, Vladimir Mirodan, Korina Biggs, Paul Christie, Niamh Dowling, Kate Flatt, Struan Leslie, Tine Damborg, Lizzie Ballinger, and Ayse Tashkiran.

Convenors: Shona Morris (Lead Movement Tutor, RADA), Mark Evans (Professor of Theatre Training, Coventry University)

The Makings of the Actor: The Actor-Dancer

International Conference, Athens 13-24 July, 2020

Hosted by Michael Cacoyiannis Foundation Alkmini Theatre  –   Cartel

Conference Venue: MCF, Alkmini Theatre, Cartel , Athens

The Makings of the Actor: The Actor-Dancer is an international conference held under the auspices of the Michael Cacoyiannis Foundation, the Royal Central School of Speech and Drama,and the Labanarium, organized by Post-doctoral Researcher Dr Kiki Selioni.

Conference Venue: MCF, Alkmini Theatre, Cartel , Athens

The Actor-Dancer conference will be the first of a series of international events under the aegis of The Makings of the Actor. The mission of The Makings of the Actor project is to gather international practitioners and researchers, from diverse fields of performance practice and scholarship, to develop and disseminate (through conferences and workshops) an evolving performance pedagogy that addresses the needs of present and future actors.

For info and booking please visit https://mcf.gr/language/el/%CE%B5%CE%BA%CE%B4%CE%B7%CE%BB%CF%8E%CF%83%CE%B5%CE%B9%CF%82/the-makings-of-the-actor-the-actor-dancer/ or email kiki.selioni@cssd.ac.uk

Keynote Speakers:

Prof. Vladimir Mirodan FRSA, Emeritus Professor of Theatre

Prof. Rob Roznowski  Head of Acting & Directing, Department of Theatre, Michigan State University

Prof. Frank Camilieri Associate Professor of Theatre Studies, School of Performing Arts, University of Malta.

Juliet Chambers-Coe  Director of Labanarium; Laban tutor Rose Bruford College (FDS); Drama Studio London (FDS); PhD researcher University of Surrey  www.labanarium.com

Katia Savrami Associate Professor of Choreology at the Department of Theatre Studies at the University of Patras, Greece.

Ramunė Balevičiūtė Associate Professor in Theatre Studies, Lithuanian Academy of Music and Theatre

Dr. Evangelos Koudigelis Med. Orthopadisch-Traumatologische Darstellung in den epen homers, University Essen Germany.

Dr. Kiki Selioni Affiliate Research Fellow Royal Central School of Speech and Drama University of London.

Call for papers, teaching demonstrations and performances

Stanislavsky asserted: “[o]ur kind of theatre is fragile and if those who create it don’t take constant care of it, don’t keep moving it forward, do not develop and perfect it, it will soon die.” (qtd. in Toporkov, 2004:106). The Makings of the Actor project seeks to explore how those who create theatre can continue to move it forward and develop it, with a particular focus on the training of the actor.

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Racism and Contemporary Dance Film

Contemporary dance is anecdotally described as a white field of practice. Although there is a growing body of arts research that examines whiteness as racial privilege, there is little that investigates the phenomenon of whiteness in British contemporary dance. Contemporary Dance and Whiteness is a research project that explores how race and racism mark the cultures, institutions and aesthetics underpinning contemporary dance in the UK. 

The project’s aim is to explore racism in contemporary dance and to critique whiteness as part of a commitment to the field’s anti-racist futures. We examine whiteness as a structure of racism that exists in the relationships between personal prejudice, cultural norms, and the lived conditions of inequality and racial violence. We as a project team want to walk a fine line in understanding and critiquing the default presence of whiteness in the field of contemporary dance while centering practices of liberation and solidarity through which whiteness is to be dismantled. 

The research will be built on a number of conversations/interviews with dance artists, administrators and a wider project group of people invested in questions of race and race privilege in the dance industry. The ideas and experiences discussed in those conversations – along with reading available literature – will help develop our understanding, and we will share the research through the following outcomes: a journal article, an academic presentation, a public workshop, a public presentation, a video essay and this website.

The video essay can be viewed here:

The research team is Royona Mitra (Brunel University), Arabella Stanger (University of Sussex) and Simon Ellis (C-DaRE, Coventry University). The project partner is Independent Dance in London. 

Contemporary Dance and Whiteness is funded by the British Academy through their partnership with the Department for Business, Energy and Industrial Strategy. The project runs from May to December 2019.

Royona Mitra: royona.mitra@brunel.ac.uk
Arabella Stanger: a.stanger@sussex.ac.uk
Simon Ellis: simon.ellis@coventry.ac.uk

CfP: TDPT Special issue: Independent Dance and Movement Training

Call for contributions, ideas, proposals and dialogue with the editors

Guest editors:

Henrietta Hale and Nikki Tomlinson, Independent Dance, info@independentdance.co.uk; Gitta Wigro, independent, gwigro@gmail.com

Training Grounds Editor: Dr Sara Reed, Coventry University ab5421@coventry.ac.uk

Independent Dance Training (Issue 12.2)

This special issue guest edited by Henrietta Hale, Nikki Tomlinson and Gitta Wigro draws from our roles at Independent Dance, an organisation that supports and sustains independent dance artists to develop dance as an art form. The ‘independent dance artists’ that ID engages with can be many things. They may produce or perform in choreographic works in theatres, galleries, digital formats or outdoor / informal sites. They may work as facilitators or teachers with other professionals or in community settings, engaging untrained people in dance. Or they may be practitioners from other disciplines such as fine arts, architecture or science who engage in an embodied movement practice to complement and bring new knowledge to their field.

The aim of this issue is to consider and map how movement practices that have evolved from specific traditions or situations are used and re-articulated for other purposes; and show how this plays out in inter-related, international networks of practitioners.

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Individual Acting Coaching by Sinéad Rushe

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.

These include:

  • Character development on a specific role
  • Script analysis
  • Acting technique
  • Unlocking obstructions
  • Dramaturgical development on devised ideas

Sessions cost £75/hour and are tailor-made. Skype sessions are also available.

To book, contact: sinead@sineadrushe.co.uk

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 College, Dublin, 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