Symposium Launch for special issue on Dartington College of Arts

The guest editors of the special issue (SI) of Theatre, Dance and Performance Training on ‘Training Places: Dartington College of Arts’ are delighted to invite you to the symposium and launch event to celebrate the issue’s publication. After three years imagining, planning and curating, the SI devoted to Dartington College of Arts (DCA) will be published in the early autumn of this year and marks the 10th anniversary of the agreement to ‘merge’ the College with University College Falmouth in 2008.

The SI reflects the diversity of art forms, writing registers, pedagogies and images for which Dartington was renowned, and includes contributions on and from: Peter Hulton on context and development of DCA, Chris Crickmay on Arts & Context, Jacky Lansley and Fergus Early on the Dance festival and X6, a roundtable reflection on Music, Gregg Whelan (Lone Twin) on Performance Writing, as well as multiple images and voices included in Donna Shilling’s record of the walk back to Dartington and Kevin & Kate Mount’s timeline photo essay.

The symposium launch will be held on the Dartington Hall Estate on Saturday 3 November from 12.00 – 15.30. The afternoon will include a response to the special issue by Karen Christopher (ex-Goat Island and now of Haranczak/Navarre Performance Projects); Thresholds, a group walk around the Dartington grounds led by Simon Persighetti (Wrights and Sites & DCA lecturer); a critical memory project in and around the Dartington estate; and a presentation by Rhodri Samuel (CEO of Dartington Hall Trust since 2015) on Dartington’s plans for the new Elmhirst Centre. More details will follow.

Details of the special issue, the launch event and booking information (cost £10.00) are all available through the link below to the eflyer.

To register your interest &/or purchase a hard copy of this SI (£5.00 tbc plus p&p), please visit:

https://www.royalholloway.ac.uk/media/5920/special-issue-final-flyer.pdf

We hope to see many of you in Dartington!

Bryan Brown, Dick McCaw, Simon Murray and Libby Worth

Guest Editors TDPT SI on DCA

Research Project on Actor Training at the University of Malta

Cultural Transmission of Actor Training Techniques (CTATT) is a Research Project that studies how actor training practices are transmitted across cultures, and in this process appropriated and transformed. Recently launched at the Department of Theatre of the University of Malta, the project is interested in both historical as well as contemporary instances of transmission.

The formal aims of the Project are:
• to create a series of research actions – workshops, residencies, seminars, conferences – that revolve around the transmission across cultures of actor training techniques;
• to reach out to the largest possible international audience that is directly invested in the study and practice of actor training and performance;
• to create and disseminate a body of knowledge related to actor training, such as workshop documentation, recorded interviews, published scholarly material, etc.

In April the Project hosted three actor training workshops with Alessio Bergamo (Accademia di Belle Arti di Frosinone, Italy), Julian Jones (Rose Bruford College, Sidcup, UK), and Jakub Korčák (Academy of Performing Arts, Prague). The practitioners conducted sessions on Stanislavsky’s magic ‘if’ with Theatre Studies students. These workshops were supported by ERASMUS+ funds for Staff Mobility for Teaching and Arts Council Malta – Malta Arts Fund.

The CTATT Project is directed and coordinated by Dr Stefan Aquilina, who can be contacted on stefan.aquilina@um.edu.mt. For more information about the project, including a series of interviews with visiting practitioners, please visit www.ctatt.org.

CfP – The S Word: Stanislavski in Context

 Annual Symposium organised by

The Stanislavski Centre and The Department of Theatre Studies (University of Malta)

in collaboration with The University of California Riverside.

5th, 6th, 7thApril 2019

Venue:                     The Valletta Campus of the University of Malta, Valletta, Malta

Keynote speakers:

Prof. Laurence Senelick (Tufts University)

Prof. Vicki Ann Cremona (University of Malta)

Co-conveners:

Prof. Paul Fryer (The Stanislavski Centre)

Dr Stefan Aquilina (University of Malta)

Creative Adviser:        Prof. Bella Merlin (University of California Riverside)

 

Following on from the past three successful editions of the Symposium, we are very pleased to announce the Call for Papers/Presentations for the fourth major event of The S Word project.

In choosing ‘Stanislavski in Context’ as its title, the 2019 edition of The S Word Symposium shows a dual ambition. It invites proposals that reflect on Stanislavski’s work within the social, cultural, and political milieus in which it developed without however forgetting the ways in which this work was transmitted, adapted, and appropriated within recent and current theatre contexts. The Symposium’s reach, therefore, is both historical as well as contemporary, and participants are encouraged to think of Stanislavski both as an instigator of modern theatre as well as a paradigm for performance practices within twenty-first-century training and performance scenarios.

We invite proposals for contributions in the following formats:

  • an individual conventional paper (20 minutes);
  • practical/workshop sessions (40 minutes);
  • panel presentations (a minimum of three participants) (60 minutes);
  • and, for the first time this year, practice-as-research sessions/practical presentations (20 minutes).

In the first instance please send a short written proposal (no more than 300 words) to Prof. Paul Fryer (paul@paulfryer.me.uk) and Dr Stefan Aquilina (stefan.aquilina@um.edu.mt), to arrive no later than 30thNovember 2018. Please include a short bionote.

Booking for this event will open on 1st September 2018.

This event is generously supported by the School of Performing Arts of the University of Malta, and presented in association with Rose Bruford College of Theatre and Performance (UK).

Week extension to Book Reviews Editor Deadline – Now 18th May

Call for Book Reviews Editor (Extended Deadline)

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

 The co-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 Book Reviews Editor to work closely with them and with the rest of the editorial team, on this very successful journal, published by Routledge.  Now in its 8thyear, the journal runs to 3 issues annually and attracts contributions from scholars and practitioners across the globe. As part of our tenth birthday celebrations, we are planning to expand to four issues per year and this appointment is a reflection of our expansion both in ambition and audience reach.

We seek a highly creative, motivated, organised and collegiate individual with demonstrable specialism in theatre, dance and / or performer training to oversee a step-change in the review provision the journal offers. We pride ourselves on the diversity of reviews offered within the pages of TDPT and as such we are dividing up the Review Editor role into two – with the review of training events already covered by current editorial expertise.  The new Book Reviews Editor will work closely with the Events Review Editor building up the Books Review section of the journal to provide an appropriately global perspective on publications in the field, offering both critical and celebratory impetus to performer training research. Our book reviews section includes critical evaluation of new books and reviews of classic texts (often by invested practitioners) and it will be part of the Editor’s brief to innovate further within this remit, perhaps to establish dialogic reviews or themed reviews of more than one book.

In addition to the opportunities to shape the book reviews development, working on TDPT will offer you unique insights into academic publication and provide you with opportunities to develop your own networks with scholars and practitioners, as well as to contribute to wider discussions about the content and continued development of the journal.

You should be:

  • An active researcher of performer training with a good knowledge base of current published work in the field.
  • Networked nationally and/or internationally in performer training circles.
  • An individual with some experience of editing and/or peer review in theatre related academic work.
  • Interested and embedded in the contemporary debates concerning training and performance and committed to the principles of ethical research.
  • Highly organised, efficient with excellent communication skills.

Book Reviewer Editor’s responsibilities include:

  • Leading on the development of an internationally ambitious reviews section, with critical insight and imagination.
  • Establishing relationships with appropriate publishers and acting as a conduit for review writers.
  • Inviting or commissioning book reviews and ‘Re-reviews’ from appropriate people in the field of performer training.
  • Working closely with Review writers to ensure a fit with the TDPT ethos and style.
  • Liaising with the Journal’s co-editors and Special Issue guest editors to provide regular updates on the status and content of submitted Reviews.
  • Acting as an advocate for the journal at conferences and symposia.
  • Managing the submission of Review manuscripts through the web-based submission tool ScholarOne.
  • Attending if possible the Associate Editors’ AGM (either in person or by Skype).
  • Liaising with publishing staff at Routledge, Taylor and Francis as required.

In keeping with the rest of the roles in the TDPT team, the post is unpaid but all travel and expenses will be paid.

To apply please send a CV and a one-page statement of your relevant skills, and interests including your aspirations for building an exceptional profile for the Book Reviews section in TDPT to j.pitches@leeds.ac.ukand libby.worth@leeds.ac.uk

For more information and an informal discussion please contact: Professor Jonathan Pitches j.pitches@leeds.ac.ukand/or Dr Libby Worth libby.Worth@rhul.ac.uk

Deadline for applications is 5pm(GMT), May 18th 2018.

Call for Book Reviews Editor

Call for Book Reviews Editor

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

The co-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 Book Reviews Editor to work closely with them and with the rest of the editorial team, on this very successful journal, published by Routledge.  Now in its 9th year, the journal runs to 3 issues annually and attracts contributions from scholars and practitioners across the globe. As part of our tenth birthday celebrations, we are planning to expand to four issues per year and this appointment is a reflection of our expansion both in ambition and audience reach.

We seek a highly creative, motivated, organised and collegiate individual with demonstrable specialism in theatre, dance and / or performer training to oversee a step-change in the review provision the journal offers. We pride ourselves on the diversity of reviews offered within the pages of TDPT and as such we are dividing up the Review Editor role into two – with the review of training events already covered by current editorial expertise.  The new Book Reviews Editor will work closely with the Events Review Editor building up the books review section of the journal to provide an appropriately global perspective on publications in the field, offering both critical and celebratory impetus to performer training research. Our book reviews section includes critical evaluation of new books and reviews of classic texts (often by invested practitioners) and it will be part of the Editor’s brief to innovate further within this remit, perhaps to establish dialogic reviews or themed reviews of more than one book.

In addition to the opportunities to shape the book reviews development, working on TDPT will offer you unique insights into academic publication and provide you with opportunities to develop your own networks with scholars and practitioners, as well as to contribute to wider discussions about the content and continued development of the journal.

You should be:

  • An active researcher of performer training with a good knowledge base of current published work in the field.
  • Networked nationally and/or internationally in performer training circles.
  • An individual with some experience of editing and/or peer review in theatre related academic work.
  • Interested and embedded in the contemporary debates concerning training and performance and committed to the principles of ethical research.
  • Highly organised, efficient with excellent communication skills.

Book Reviewer Editor’s responsibilities include:

  • Leading on the development of an internationally ambitious reviews section, with critical insight and imagination.
  • Establishing relationships with appropriate publishers and acting as a conduit for review writers.
  • Inviting or commissioning book reviews and ‘Re-reviews’ from appropriate people in the field of performer training.
  • Working closely with Review writers to ensure a fit with the TDPT ethos and style.
  • Liaising with the Journal’s co-editors and Special Issue guest editors to provide regular updates on the status and content of submitted Reviews.
  • Acting as an advocate for the journal at conferences and symposia.
  • Managing the submission of Review manuscripts through the web-based submission tool ScholarOne.
  • Attending if possible the Associate Editors’ AGM (either in person or by Skype).
  • Liaising with publishing staff at Routledge, Taylor & Francis as required.

In keeping with the rest of the roles in the TDPT team, the post is unpaid but all travel and expenses will be paid.

To apply please send a CV and a one-page statement of your relevant skills, and interests including your aspirations for building an exceptional profile for the Book Reviews section in TDPT to j.pitches@leeds.ac.uk and libby.worth@leeds.ac.uk

For more information and an informal discussion please contact: Professor Jonathan Pitches j.pitches@leeds.ac.uk and/or Dr Libby Worthlibby.Worth@rhul.ac.uk

 

Deadline for applications is 5pm (GMT), May 21st 2018.

 

Reminder – Call for a co-editor of this Blog – Deadline 9 April

Dear All,

Applications for a co-editor for the TDPT Blog close this Monday, 9 April.  Please apply or pass on to those who might be interested.

It might be particularly of interest to those Early Career Researchers looking to develop their networks of academics and practitioners.

Wee look forward to hearing from you!

Best Wishes,

James

View the original advertisement here

CfP TaPRA Performer Training Working Group

TaPRA Performer Training Working Group

University of Aberystwyth 5th  – 7th September 2018

 Performer Training Working Group

The Performer Training Working Group has been meeting for thirteen years and has produced several collaborative outputs, including a variety of contributions to the thrice-yearly journal, Theatre, Dance and Performance Training, dedicated to training in all its manifestations, and the associated blog http://theatredanceperformancetraining.org.

The working group co-convenors are delighted to issue a call for contributions for the forthcoming 2018 TaPRA conference.

We are interested in a range of presentation formats including the following:

  • provocations or position statements (max 10 minutes)
  • laboratory explorations rooted in practice research e.g. workshops, demonstrations, performance lectures or other appropriate formats (30-60 min)
  • formal papers (max 20 minutes)

 

2018 Theme: “Who are we training for?”

This year we invite proposals that respond to a purposefully provocative, playful and open question that the WG Convenors have derived at to address a very particular set of current concerns and debates in our field.

As was experienced at the conference last year, in which ‘the end of training’ was explored, ‘training’ in itself remains an open, ambiguous and contentious term.  Whatever form ‘training’ takes (i.e. however it is experienced or defined) it will not conform into one neat homogenous experience, nor should it. Indeed, training can be understood and experienced in numerous ways: as a self-practice; a collective endeavour; a means to an end; a means in itself; a discovery. It can be embarked upon to fulfil an ambition; to land a role; to develop a particular skill, craft, or discipline.  However, something that remains unclear, yet applicable to all forms of training, is who the beneficiary of this endeavour is.  Indeed, who or for whom are we training?

This question, and its series of sub-questions, call for equally urgent critically framed responses. This Call for Papers encourages contributions positioned, although not exclusively, in light of one or more of the following contexts:

 Institutions and Pedagogical Approaches

Specifically with reference to the rapid decline of access to arts provision across core compulsory state education in the UK and the predicted knock on effect this will have on the viability and perceived value of ‘training’ in our field in Higher Education.  (See numerous recent  reports and studies based on Government and independent research, including for example: BBC, January 2018, which states nine in every ten schools has significantly cut back on its arts provision: http://www.bbc.co.uk/news/education-42862996 and Arts Professional, June 2017 https://www.artsprofessional.co.uk/news/devastating-decline-arts-schools-surges)

 Industry and Professional Organisations

Particularly in light of an industry that has been globally disgraced, outraged, and left searching for solidarity and solutions through committing to the mass movements and global campaigns of #Metoo and ‘Time’s Up’.  (See, for example, numerous recent industry guidelines and statements by organisations including Society of London Theatre (SOLT); Equity; and many independent theatres)

Employability

With reference to agendas that demand trained graduates to be multi-faceted practitioners who can readily devise, perform, self-produce, fund and promote their own practice, as well as desperately seeking to improve and address diversity quotas and credentials. (See, for example, ‘Skills for Theatre: Developing the Pipeline of Talent’ 2017 and Arts Council England ‘Creative Case for Diversity’: https://publications.parliament.uk/pa/ld201617/ldselect/ldcomuni/170/170.pdf

http://www.artscouncil.org.uk/how-we-make-impact/diversity-and-equality)

In relation to this background, we invite proposals that may address, but are not limited to, the following questions:

  • How do performer training approaches and regimes understand and frame ‘the Other’ and/or questions of otherness?
  • At what point in training does a consideration of ‘an audience’ arise?
  • How do I consider and position myself in relation to those others that I am in a training situation with?
  • To what extent is training recognised and experienced as a solo endeavour?
  • Can training respect and work through marginality or does its very process and logic cultivate homogeneity and conformity?
  • When and how might training become ‘counter-training’?
  • How might a trainer or trainee be experienced as ‘other’ and what impact might this have on my experience of training?
  • How might performer training practice and discourse relate to recent theorisations of marginality, queerness and otherness?
  • How do we experience training in relation to our social media selves/other personas?
  • How do we train in relation to a digital other? How do I relate to and experience/feel a training mediated through digital technologies?
  • How has intersubjectivity in performer training practice and discourse been framed?

We are particularly keen to receive proposals where responses are situated inside critical frameworks as well as recent cultural policy related to the aforementioned questions.

Additional Note

This year, the Performer Training Working Group will be collaborating with the Performance and New Technologies Working Group by holding a joint session, addressing performer training in relation to digital/networked technologies. If you believe your proposal is most appropriate for this session, please indicate this, though final decisions will be made by working group convenors.

Submitting a Proposal

Please email all abstracts (no more than 300 words in length),  along with an additional few sentences of biographical information. Please also include precise details of your resourcing needs, for example, any audio-visual technology, or a particular type of space (e.g. drama studio) that you will need to make your presentation.

Email abstracts and information to Kate Craddock (kate.craddock@northumbria.ac.uk), Maria Kapsali (M.Kapsali@leeds.ac.uk), and Tom Cantrell (tom.cantrell@york.ac.uk).

The deadline for the submission of proposals is Friday 20th April 2018.

Please note: only one proposal may be submitted for the TaPRA 2018 Conference. It is not permitted to submit multiple proposals or submit the same proposal to several Calls for Papers. All presenters must be TaPRA members, i.e. registered for the conference; this includes presentations given by Skype or other media broadcast even where the presenter may not physically attend the conference venue.

 Early Career Researchers Bursary Scheme

If you are an Early Career Researcher, then you are eligible to be considered for a TaPRA ECR Bursary. Please follow this link for more information, and please indicate on your proposal whether you fit this criteria and wish to be considered for the bursary scheme: http://tapra.org/bursaries/

 Circulation of paper-based presentations in advance of the conference

Papers are circulated in advance of the conference, so paper contributors should be prepared to have a full paper by early/mid August.

Please note that our group also welcomes participation from colleagues who do not wish to submit papers or other presentations. However, if you do wish to participate in our working group, but are not delivering a paper, please email us your name and details so we can ensure you receive papers in advance.

We also warmly encourage, that where possible, contributors attend over the 3 days, so that conversations and experiences can grow and develop collectively during this time-frame.

Theatre, Dance and Performance Training journal (TDPT)

TaPRA Papers may be considered for further development and publication in the Routledge Journal TDPT, http://www.tandf.co.uk/journals/rtdp

We very much look forward to hearing from you.

Kate, Maria and Tom

 

 

 

 

Writing for Publication Special Event at Rose Bruford June 9th

Saturday 9th June 2018 between 10am and 4pm at Rose Bruford College

On behalf of the Theatre, Dance and Performance Training Journal, the Conservatoire for Dance and Drama, Manchester School of Theatre and Rose Bruford College of Theatre and Performance, we are delighted to invite you to this FREE event:

Practise, Reflect, Share: Writing for Publication

Building on the success of Practise, Reflect, Share: Ways into Research in June 2017, this follow-up day aimed at colleagues involved in the training of performers, directors, designers and technicians, offers an opportunity to explore ways into writing that draw on teaching, professional practice or practice-as-research. Hosted by Rose Bruford College of Theatre and Performance, the event will offer practical guidance, workshop sessions and discussion about how to begin to write for publications, focusing mainly on articles. What does an abstract look like and what makes a good one? How to develop and structure a longer piece? What does the peer review process involve? How best to use images and supporting material? If you are thinking about working on an article and would like to know more about the route to publication, then this event will prove both informative and stimulating!

Please follow the following link to book for this event:

https://store.bruford.ac.uk/product-catalogue/research-centres/research-events/the-stanislavski-centre/practise-reflect-share

Please feel free to contact David Shirley (d.g.shirley@mmu.ac.uk) directly if you have any questions or require further information.

Call for a co-editor of this Blog

We are currently seeking a new member to join the editorial team of the TDPT Blog, www.theatredanceperformancetraining.org.

Associated with the influential journal, Theatre, Dance and Performance Training, published by Routledge, the blog’s interactive presence is designed to encourage a growing community of artists, academics, practitioners and researchers to share practice and debate issues that are currently alive within the disciplines of theatre, dance and performance training.

Now entering its third year, our blog has been highly successful in engaging new audiences for the TDPT journal, creating an online space that promotes spontaneous and productive conversation and debate. As we grow further it will represent a productive and discursive teaching ‘tool’ – or forum – within all levels of education and training preoccupied with dance, performance and theatre.

This opportunity will offer the chance to develop your own networks with scholars and practitioners, as well as contribute to the shape and direction of contemporary discussions on training.

We invite applications from researchers from any stage of their career, but especially Post-Graduate Research Students and Early Career Researchers who are actively seeking to develop their research and practice networks.  We also encourage those with an active interest in Practice-based research and/or Live Art, and those who have familiarity with editing audio-visual material.  As we are seeking to broaden our outlook and audience, we are interested to connect with scholars who reside outside England but above all we are looking for a team member who is highly organised, can work well in a team, and has a passion for the field of theatre, dance, and performance training.

The successful applicant will participate in regular Skype meetings with the Blog team to discuss the administration of the site and curation of posts.  They will also seek out new content from practitioners and scholars and liaise with these authors throughout the content-making process.  Such content may take the form of writing, photo essays, audio-visual files, and/or other innovative approaches. Applicants should be comfortable with editing and curating such content.

For further information, please contact blog editors, James McLaughlin, jimmyacademy@gmail.com (University of Greenwich), Bryan Brown, B.Brown@exeter.ac.uk (University of Exeter), or Maria Kapsali, M.Kapsali@leeds.ac.uk (University of Leeds).
To apply, please send a one-page statement of your relevant skills, interests and aspirations for the journal with an accompanying CV to James McLaughlin, jimmyacademy@gmail.com by Monday, 9 April, 2018.

Meyerhold’s Biomechanics – online training course February 2018

An online course based on Meyerhold’s biomechanics is running again on the FutureLearn Platform in February 2018

Free registration for the course is here

https://www.futurelearn.com/courses/physical-theatre/?utm_source=email&utm_medium=students&utm_campaign=physical-theatre-3

I am really looking forward to having students from all over the world studying this remarkable form with me and my colleagues from the University of Leeds.

Launch Event: ‘Training the Popular Performer’ by Oliver Double, University of Kent.

 

The special issue of Theatre, Dance and Performance Training, entitled ‘Training the Popular Performer’, was launched at the University of Kent on 6th November. The event drew a varied crowd, including lecturers, postgraduate research students and even undergrads. The special issue was launched alongside Popular Performance (Bloomsbury), a collection which was edited by the same team as the special issue of TDPT: Adam Ainsworth, Oliver Double and Louise Peacock. Adam and Olly talked about both publications in the context of popular performance more generally, and Sophie Quirk, who wrote a chapter for the book, also spoke.

The evening finished with a caption competition, in which punters were invited to write jokes to accompany one of the illustrations. The crowd voted to decide which captions were the funniest, and the best three won copies of the TDPT special issue!

 

The S Word: A Practical Acting Laboratory – 2018

 UNIVERSITY OF CALIFORNIA, RIVERSIDE

Department of Theatre, Film and Digital Production

in collaboration with The Stanislavski Centre, Rose Bruford College of Theatre and Performance

present

Stanislavski

The S Word: A Practical Acting Laboratory

April 6-8, 2018

University of California, Riverside

Co-convenors: Bella Merlin, UCR and Paul Fryer, RBC

A practice-based research weekend, applying actor training to global questions surrounding empathy, dynamic listening, ceremony, healing, and the power of language.

Featuring three internationally acclaimed acting practitioners:

Sharon M. Carnicke (author of Stanislavsky in Focus)

Tina Packer (founding artistic director of Shakespeare & Company)

Kimberly Guerrero (co-founder of the Stylehorse Collective).

A special edition of The Stanislavski Studies journal in 2019 will feature articles on practice-based research arising from the weekend.

Registration Deadline: January 12, 2018

Register online

Learn more

Part of a series of international events featuring Stanislavski and actor-training.

Sponsors: University of California, Riverside, Departments of Theatre, Film and Digital Production; English; Dance; Office of the Dean, College of Humanities, Arts and Social Sciences; Office of International Affairs; Culver Center of the Arts; City of Riverside and Riverside Arts Council.

 

Call for contributions TDPT 10.3: What is New in Voice Training?

Special issue entitled What is New in Voice Training? To be published in TDPT Vol 10.3 (September 2019)

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

Guest edited by Konstantinos Thomaidis, University of Exeter (K.Thomaidis@exeter.ac.uk).

 

Background and context

This will be the 11th Special Issue of Theatre, Dance and Performance Training (TDPT) following issues on a range of topics including sport, politics, Feldenkrais, writing training, interculturalism and digital training. TDPT is an international journal devoted to all aspects of ‘training’ (broadly defined) within the performing arts. The journal was founded in 2010 and launched its own blog in 2015. Our target readership is both academic and the many varieties of professional performers, makers, choreographers, directors, dramaturgs and composers working in theatre, dance and live art who have an interest in and curiosity for reflecting on their practices and their training. TDPT’s co-editors are Jonathan Pitches (University of Leeds) and Libby Worth (Royal Holloway, University of London).

Call Outline: What is New in Voice Training?

Voice has returned to academic discourse with renewed force. 20th-century philosophical and critical debates may have generated important questions around speech, vocality and listening (particularly through the works of Lacan, Derrida, Merleau-Ponty, Ihde, Barthes and Kristeva), but the first two decades of the 21st century have witnessed an unprecedented proliferation of publications taking voice as their main area of enquiry (see Connor, Cavarero, Dolar, Neumark, among others). In the same period, a similar plurality marked the way voice is practised in performance, particularly in its entanglement with new media, new scenic and everyday architectures as well as new hybrid genres and aesthetics. The emergent field of voice studies situates itself at the juncture of these practical and theoretical advances and advocates for research in and through voice that is markedly praxical, international and interdisciplinary in scope.

In bringing the concerns of this new inter-discipline to bear on performance studies, this issue of Theatre, Dance and Performance Training proposes a timely re-examination of voice in performer training. The literature on voice and the pedagogy of performance is, of course, vast. In the case of singing, it is largely dominated by paradigms appropriate for operatic and musical theatre performance. In the case of speech training, areas that have been systematically explored include the pedagogies developed by an influential generation of mid-twentieth-century, UK- and US-based speech trainers—and, to a lesser extent, the voice practices pertaining to (post)Grotowskian lineages or integrating first-wave somatics into voice work. While drawing impetus from these significant insights, the purpose of this special issue is to lend an attentive ear to emergent or less widely circulated training methodologies and to chart the rapidly shifting landscape of voice training.

 In other words, it wishes to ask: What is new in voice training? Continue reading

Performance and Culture: Cities, Embodiments, Technologies

Annual Conference hosted by

The School of Performing Arts (University of Malta)

7, 8, 9 March 2018

Keynote Speakers:

Sir Jonathan Mills, Programme Director of 2018 Edinburgh International Culture Summit

Prof. Maria Delgado, Royal Central School of Speech and Drama, University of London

Prof. Ann Cooper Albright, Department of Dance, Oberlin College and Conservatory, Ohio, US

Continue reading

The Camera and the Trained Body

Performance Lecture by Judaica Lab with Ben Spatz, Nazlıhan Eda Erçin, Agnieszka Mendel

hosted by the Performance Training, Preparation and Pedagogy Research Group

31 Oct @ 5:30-7:30 pm Alec Clegg Studio, University of Leeds


The Judaica research project (AHRC 2016-2018) is designed around a new method of ‘configurations’ for structuring and documenting experimental embodied practice. Drawing on discoveries made during the 2017 intensive laboratory phase of the research, the trio of international researchers will present new ways of thinking about and working with embodiment, vocality, songs, and identity in a multimedia experimental context.
The lecture performance consists of a laboratory session of the Judaica trio followed by video screening and discussion through which the questions below will be addressed:
• How is training situated in the method of configurations? • How does the method of configurations change the experience of training for the practitioner?• How does the dramaturgy of the director/instructor/teacher/trainer role interact with the dramaturgy of the videographer in co-creating audiovisual documents? • What is it that the camera makes visible, enables and simultaneously conceals or blocks in relation to the moving and living body? • What can theatre, dance, and performer training offer to contemporary conversations about digital and audiovisual media?

For information on the Judaica project, please visit: www.urbanresearchtheater.com.

Continue reading

Artist Award announcement, and a new milestone of readership

We are delighted to share that the Theatre, Dance and Performance Training blog has now surpassed 20,000 views. Whilst this is only one measure we hope this is indicative of the many fine posts and comments being contributed to our site and we thank all the contributors who have made content for us so far.

To add to our growing community we have been supporting a handful of contributors through our Artist Awards. This week sees a new post by The Wardrobe Ensemble, our first Artist Awards recipient and the first post by Asha Jennings-Grant, who received the third Award.

The Artist Awards were conceived to highlight and support the most innovative creative practice in the field of performance training. Accordingly, we are excited to share Wardrobe’s reflections on the work that Complicite say, ‘fills us with joy and reminds us of why we love working in theatre.’

The two posts from The Wardrobe Ensemble trace two weeks in the development of their most recent show, Education, Education, Education, and the way training informs their remarkable ensemble dynamic.

Our second Blog Artist Award takes us to a territory that has remained relatively uncharted in the field of performer training. Please join dance artist Marie Andersen on a series of posts on Motherhood in/as training exploring a number of perspectives, including female artistic identity and embodiment, training beyond disciplinary boundaries, and training when there is no time.

Marie has currently posted two of a series of three posts that combine creative video and reflective writing in an innovative approach to this neglected topic.  The two posts published have already elicited stream of comment and discussion.

Finally, Asha, in her first post introduced the work she is developing on movement training for Motion Capture and will continue to post in the next coming months on the workshops she will be leading.

Visit the TDPT blog to follow this and other engaging threads, join the conversation by commenting on any of the posts, or even submit your own piece of writing to the blog to share your own practice.

Also look out for a series of reviews of the meeting of the Performer Training Working Group at the TaPRA Conference (Theatre and Performance Research Association) in Salford in September 2017.

The TDPT blog was launched in November 2015 to encourage a growing community of artists, academics, practitioners and researchers to share practice and debate issues that are currently alive within the disciplines of theatre, dance and performance training. One of our aims was to engage a new audience for the TDPT journal while also creating an online space that encourages spontaneous and productive conversation and debate.  With one milestone reached, these aims are becoming a reality and we hope that the TDPT blog is achieving its aim of offering a vibrant and engaging hub for discussion of the leading edge of theatre, dance and performance training.

Now available: Volume 8.2 – Training the Popular Performer

We are delighted to announce that the latest special issue for TDPT has just been published online: Training the Popular Performer.

TDPT 8.2 offers a fantastic line up of essays curated by Adam Ainsworth, Oliver Double & Louise Peacock, with Training Grounds materials edited by Kate Craddock.

You can read the editorial here for free and find the whole issue online here.

We hope you like it!

Call for Sources: Embodied archives – capturing the work of our teachers and our teachers’ teachers

Further to the very successful Practice, Reflect and Share day at Rose Bruford, TDPT would like to offer a bespoke call for practitioner-researchers interested in capturing the work of significant practitioners and teachers who have had a demonstrable influence both personally and in the training sector. The urgency to record some of this work we think might profitably be met by considering the section we call Sources in the TDPT journal:

In its Sources section TDPT provides an outlet for the documentation and analysis of primary materials of performer training, whilst the Articles section allows for discursive contributions in a range of critical and creative formats, including visual essays.

Sources are normally between 5500 and 6500 words and are treated in the same way as discursive article with full peer view by two experts. Our full submission directions are here:

http://www.tandf.co.uk/journals/rtdp (click on the ‘submit an article’):

Submissions are through our peer review portal, Scholar 1:

http://mc.manuscriptcentral.com/rtdp

You may also of course want to consider publishing to this blog space for the journal  – either in association with a Source or separately. We also offer a platform for video materials on this blog if you have appropriate materials:

http://theatredanceperformancetraining.org

Help and support in the development of these papers is available and we are keen to offer a mentoring service for those new to academic publishing. For further details please contact David Shirley (D.G.Shirley@mmu.ac.uk) or speak to any of us below.

We hope to hear from you soon.

Jonathan Pitches, Libby Worth, David Shirley  and Paul Allain

 

New Publication and Book Launch: Stanislavsky in the World

I am delighted to announce that, after five years of work,  Stanislavsky in the World: The System and its Transformation across Continents, has just been published, co-edited with Dr Stefan Aquilina of the University of Malta.

 

More information can be found by following this link: http://www.bloomsbury.com/uk/stanislavsky-in-the-world-9781472587886

The book maps the movement of Stanislavsky’s system across five continents, revealing undiscovered paths of transmission and examining wider questions of embodied history and tradition building. To make its point, it focuses on practices beyond Russia and the US – for too long accepted blindly as the two most-developed seats of Stanislavskian practice – and introduces readers and practitioners to new routes in Europe, Asia, Africa, Australasia and South (Latin) America. We were joined by an internationally broad network of 18 scholars and practitioners to take on some knotty and current questions – of transformation, translation, appropriation and resistance. The book will undoubtedly make a significant contribution to Stanislavsky studies but recent research on theatre and interculturalism, globalisation, and postcolonialism will also be boosted by these findings.

 

Contributions include:

  • Marie-ChristineAutant-Mathieu’s discussion of selected affinities between Stanislavsky and the French Theatre Tradition;
  • Franco Ruffini’s detailed account of the 1960 court case in Bari that questioned the reach of Elizabeth Reynolds’ copyright claims on Stanislavsky’s books;
  • Stefan Aquilina’s exposition of how the System was processed in the amateur theatre context of Malta;
  • Ina Pukelytė’s discussion on a heavily institutionalised reading of Stanislavsky in Lithuania;
  • Maria Gaitanidi’s elaboration of Stanislavsky’s impact on both modern theatre and contemporary actor training in Greece;
  • Siyuan Liu’s analysis of Stanislavsky’s impact on a Chinese School of Performance and Directing;
  • Raúl Serrano’s teacher-perspective on current Stanislavskian teaching at the Escuela de Teatro de Buenos Aires inArgentina;
  • Kene Igweonu’s exposition on Stanislavsky’s interaction with the Nigerian cultural environment as a series of convergences and counterpoints;
  • Hilary Halba’s account on the System experienced through the Maori World in New Zealand;
  • Syed Jamil Ahmed’s articulation of the System as postcolonial appropriation and assimilation in Bangladesh.

The book’s official launch will be held as follows:

Date:                5th June 2017

Time:               17:00

Venue:             Alec Clegg Studio, stage@leeds building, University of Leeds

For more information please contact us on j.pitches@leeds.ac.uk or stefan.aquilina@um.edu.mt

 

Edward Braun Obituary

Remembering Edward Braun

(1936-2017)

Terence Mann

Whilst at Drama School in 1994, during rehearsals for Nikolai Erdman’s The Suicide, I read Meyerhold on Theatre. At that point in time I had never heard of Vsevelod Meyerhold or Theatrical Biomechanics but that book was to be the start of a fascination with Russian Theatre, Meyerhold and in particular his actor training system Biomechanics, which has continued to this day. Little did I know back then, that some 20 years later I would be delivering a workshop and a paper on Meyerhold’s Biomechanics at Hull University in the presence of the book’s author Edward Braun.

I was a little nervous when I heard that Edward Braun would be there. After the presentation I was introduced to Edward (Ted) and much to my relief, he had some very kind things to say about the workshop. He talked about the time he spent in Russia in the 1960’s and how he had met Meyerhold’s daughter. Some weeks later we were hosting a series of workshops at the University of Central Lancashire with the world’s leading exponent in Theatrical Biomechanics, Gennady Bogdanov. I asked Ted if he would like to meet Gennady and he accepted the invitation.

Ted sat for several hours totally absorbed in the work. As he watched, I was acutely aware it was highly likely that he had seen Meyerhold’s daughter perform the same exercises some forty years earlier. We spent the evening in an Italian restaurant talking about Russia, Communism, Meyerhold, Biomechanics and….life. So, for a brief moment in our lives serendipity had brought us together; Gennady my teacher, his interpreter Svetlana, Edward Braun and I. I felt very privileged and quite humbled just being there. As the evening drew to a close and we walked Ted back to his hotel, I was struck by the fact that, had it not been for him, the four of us would never have met and I for one would certainly not be doing what I do today.

On hearing the sad news that Ted had died, I recalled the time I had spent in his company in 2015. He was extremely generous, courteous, erudite, enthusiastic, warm, and witty.

Listening to Jonathan Pitches last interview with Ted, as he talked about Biomechanics, I was quite surprised and rather moved to hear Ted talk about “being in Preston with Terence and Gennady.” It was as if he had known us for years and in a way, via Mr. Meyerhold……. I suppose he had. Although I only met Ted briefly; I will always remember him. RIP Ted.

 

Terence Mann (Chapman) is Senior Lecturer and Course Leader for BA Acting at UCLAN.  He has worked with some of the most innovative theatre companies and directors in Europe and is regarded as one of the country’s leading practitioners in Meyerhold’s Theatrical Biomechanics.

Extended deadline for TaPRA Performer Training WG Event

Dear all,

We’ve extended the deadline to Friday 7 April for proposals for the TaPRA Performer Training Working Group Interim Event. Please send your abstract through if this area is of interest to your research. You are also very welcome to attend, without presenting a paper. The event is free, but you need to be a TaPRA member.

TaPRA Performer Training Working Group

Interim Event

Monday 22 May 2017, 11am – 6pm

University of York

Performer Training and Media Ecologies

Continue reading

Call for Contributions for Special Issue: Digital Training

Please find all the details of this exciting call for TDPT Vol 10.2 (2019) as a PDF in the link below

Digital Training cfp

Guest coedited by Professor Paul Allain (University of Kent), Stacie Lee Bennett (University of Kent and freelance film-maker) and Professor Frank Camilleri (University of Malta) with blog and Training Grounds editor James McLaughlin.

To signal your interest and intention to make a contribution to this special issue please contact Paul Allain for an initial exchange of ideas/thoughts or email an abstract or proposal (max 300 words) to Paul Allain: paa@kent.ac.uk. Questions about purely digital propositions can be sent to Stacie Lee Bennett: slb73@kent.ac.uk. Ideas for the blog and/or Training Grounds can be sent to James McLaughlin: jimmyacademy@gmail.com.  Firm proposals across all areas must be received by Paul Allain by 30 November 2017 at the latest.

Tools and Material(itie)s Research Seminar, University of Leeds, March 7th 5-7pm

You are warmly invited to the next School of Performance and Cultural Industries research seminar –

Tools and Material(itie)s      
Dr Scott McLaughlin (School of Music), Dr Maria Kapsali (School of PCI), Dr Joslin Mckinney (School of PCI)

Tuesday 7th March 5pm-7pm
Lecture Theatre 2, School of Music, University of Leeds
Please book a place with Linda Watson l.m.watson@leeds.ac.uk – All Welcome

The three papers in this seminar aim at highlighting the way in which theories and discourses on tools and material(itie)s inform practice and thinking in music, somatic work and scenography. Apart from positioning the overall enquiry in relation to specific disciplines, this research seminar also aims to put forward a set of questions that deal with wider, cross-disciplinary themes: In what ways do theories of materiality shed light on artistic processes?  What is the relationship between tool and tool user? How does a non-anthropocentric view inform understanding of experience and perception?

Continue reading

Journal of Embodied Research launch talks

These following talks were given on 8 February 2017 to launch the new Journal of Embodied Research. The transcript has been edited for clarity. To hear the audio recording, please visit the original post.

Continue reading

Embodied Research events

Readers of this blog are warmly invited to submit proposals and/or participate in the following upcoming events, both of which seek to develop a new territory of embodied research that overlaps significantly with theatre, dance and performance training.

Call for Proposals: 5 February 2017 (extended deadline)
Embodied Research Working Group

International Federation for Theatre Research
Annual conference in São Paulo, 10-14 July 2017
more details | WG info | abstract submission

Journal Launch Event: 8 February 2017
Journal of Embodied Research

Open Library of Humanities
Birkbeck College of Arts, London
JER | OLH | event registration

Hoping to see you there!

Call for Contributions Special Issue Training Places: Dartington College of Arts

CfP for Dartington Special Issue

We are very pleased to announce the following call for contributions for a special issue of Theatre, Dance and Performance Training, focusing on Dartington College of Arts.

Theatre, Dance and Performance Training (TDPT) 

Special issue on Training Places: Dartington College of Arts to be published October 2018. Call for contributions, ideas, proposals and dialogue with the editors.

Guest editors: Dr Bryan Brown, University of Exeter, Dr Libby Worth, Royal Holloway, University of London, and Editorial Consultant Professor Ric Allsopp, Joint Editor Performance Research

The Training Grounds section of the issue (see below) will be guest edited by Dr Simon Murray, University of Glasgow and Dr Dick McCaw, Royal Holloway, University of London

Background and context

This will be the ninth Special Issue of Theatre, Dance and Performance Training (TDPT) following issues on sport, Michael Chekhov, politics, Feldenkrais, showing/writing training, interculturalism, popular performance and immersive, interactive and participatory performance. TDPT is an international journal devoted to all aspects of ‘training’ (broadly defined) within the performing arts. The journal was founded in 2010 and launched its own blog in 2015. Our target readership is both academic and the many varieties of professional performers, makers, choreographers, directors, dramaturgs and composers working in theatre, dance and live art who have an interest in and curiosity for reflecting on their practices and their training. TDPT’s co-editors are Jonathan Pitches (University of Leeds) and Libby Worth (Royal Holloway, University of London).

Dartington College of Arts: pedagogies, contexts, people, performances and experimentations.

This is the first time that a place of performance training has been taken as the subject of a TDPT special issue and although it and other centres of performance training have been addressed in specific articles, this singular focus for a whole issue calls for some explanation.

Why Dartington and why now?

Over the near 5 decades of its history, Dartington College of Arts, established an international reputation for innovation in performance making, spawning new directions in dance, theatre, devising, music and visual performance that continue to influence current artists and scholars. Based on an 800-acre estate on the River Dart near Totnes in rural Devon, its staff and students explored ways of working that emphasised learning through doing and questioning, working across arts disciplines, paying attention to the social impact and context of their artistic output and encouraging robust and engaging international contacts and exchanges.

The publication date for this special issue (2018), marks ten years since the college merged with Falmouth University, resulting eventually in a controversial move from the Dartington Hall estate to a purpose built complex at what was then University College Falmouth in 2010. This, perhaps, is a good time therefore to re-examine Dartington’s ecology, its people, its sites and its continuing influence within the arts world. In the current national and international climate with political uncertainties, the rise of nationalism and the new right, and the steady undermining of the arts in UK educational curriculum, it could be the appropriate moment to re-assess what Dartington College offered and its legacy continues to offer. Those who participated in the life of Dartington College of Arts are active internationally and continue to develop new working practices inspired and influenced by the “Dartington ethos”. Articulating how places inform training (pedagogy, practice, conversations, ways of being) through the fostering of a complex ecology and ethos is what this special issue aims to attempt.

Echoing Dartington’s fluid approach to training that positively encouraged experimentation in form/structure to better reflect artistic concepts and practices, this issue welcomes a variety of ways of responding to the call and actively encourages co-authoring, embedding of images, diagrams, drawings within critical articles. These could include offering additional visual/audio media on the TDPT blog or directly linked to an article. The issue aims to include writing/images representative of all the College’s training disciplines (theatre, dance/choreography, music, performance writing and visual performance) and of its different eras.

We are particularly interested in (but not limited by) responses to the following set of questions:

  • How did the social/political context of each of the College’s eras contribute to the training ethos?
  • In what ways did the college ascribe to a form of ‘un-training’ or ‘de-training’ and how was this structured? What did it generate?
  • How might have the environment of diverse buildings and countryside influenced the type of training that happened at Dartington College of Arts? And how did this geographically isolated experience sit with student international placements and commitment to international artists’ residencies?
  • What were significant strands in Dartington Hall’s history that contributed to the philosophy and practical components of the College programmes?
  • What was left out in the training offered at the College and why?
  • What remains important of the mystiques, fantasies, hauntings and residues triggered over the life of the college?
  • What was shared within the training processes but not articulated?
  • What has gone missing that matters outside of this community?
  • If Dartington College is seen as an ecology and not merely a place, how is this still growing?
  • What roles did Dartington College take in nurturing innovative practices – New Dance for instance?
  • What sources from the college’s history might be timely to reprint in order to generate contemporary responses?
  • What were the cultural, economic, pedagogical, political and psychological circumstances of the College’s closure in Devon and the merger with University College Falmouth in Cornwall?
  • What are the legacies and implications of the DCA educational experience for other performance training ecologies?

We welcome submissions from potential contributors, both inside and outside academic institutions, who may have been students, academic and non-academic staff, and visiting artists/tutors at the College over its 50 year history in Devon. Equally, we welcome potential contributions from anyone associated with Dartington or who has been influenced by its history in one way or another.

To signal your interest and intention to make a contribution to this special issue in any one of the ways identified above please contact Bryan and Libby for an initial exchange of ideas/thoughts, or email an abstract (max 250 words) to: Bryan Brown at b.brown@exeter.ac.uk and Libby Worth at libby.worth@rhul.ac.uk Our first deadline for these is 20th April 2017.

 

Training Grounds sections for Dartington College of Arts special issue.

Training Grounds (TG) is, and has always been, an alternative space within the journal to encourage contributors to use the kind of languages and forms that seem most appropriate to their own practice. It is a space for shorter contributions which may experiment with different writing registers, and be passionate, provocative, poetic or rhetorical. A space for lists, for saying awkward things and offering up difficult and perhaps unfashionable ideas. A place, nonetheless, for generosity and big-heartedness. TG editors for this special issue are Simon Murray (Simon.Murray@glasgow.ac.uk) and Dick McCaw (Dick.McCaw@rhul.ac.uk).

For this special issue we are looking for contributions to cover all the Dartington fields (Music, Theatre, Visual Arts, Performance Writing, Choreography/Dance, and Cultural Management) within each of the following categories:

1/ POSTCARDS 1: A description of a startling/challenging/rewarding moment of teaching or learning from your Dartington experience. Possibly, a Eureka type moment, or one of clarity, astonishment, insight or understanding. A sense perhaps of the feelings generated by the experience. 125 words or image/graphics to fit into a postcard size space.

2/ POSTCARDS 2: A contribution which succinctly describes (without comment, analysis or evaluation) a particular teaching exercise you used or experienced. 125 words or image/graphics to fit into a postcard size space.

3/ ANSWER THE QUESTION (ATQ): For this area we are suggesting either of two (inter-related) questions.

Question 1 (for ex-Dartington teachers and other staff):  What was Dartington training or educating for?

Question 2: (for ex-students of Dartington): What in retrospect do you feel the Dartington experience trained you for and what did it leave out?

With these two ATQs we would aim to carry 4 or 5 examples for each question and as far as possible these would reflect the different subject areas and timelines over the College’s history. You could either send us a draft of your response to one of these questions, or arrange for a conversation with either Dick McCaw or Simon Murray. This might be in person or via Skype or phone. We would transcribe and edit your responses and agree any text with you before publishing. Responses to ATQs should be between 500 and 750 words (max).

4/ IMAGES: We are planning to carry at least one photo-essay and will be commissioning this for Training Grounds. However, we would welcome other photo images, sketches, paintings and drawings from contributors. In the first instance please contact either Simon or Dick, briefly describing the image(s) you are proposing. If you have enough to constitute an interesting and revealing photo essay please do write to us and we will have a conversation with you. All images must be at the appropriate resolution: 1200 dpi for line art, 600 dpi for grayscale and 300 dpi for colour.

Please contact Simon Murray (Simon.Murray@glasgow.ac.uk) and Dick McCaw (Dick.McCaw@rhul.ac.uk) if you wish to contribute to this section or have other ideas and suggestions. Either of us will then discuss your possible contribution as we begin to curate Training Grounds. The final deadline for this initial conversation is August 30th 2017, but let’s start the exchange going as soon as possible please. Some materials and contributions may be more appropriate for the TDPT blog and we will encourage these to be developed for the lead up to the special issue as well. The deadline for final delivery of all TG materials is January 31 2018.

Approximate timelines for this issue

January 2017: Call for papers published

20th April 2017: Abstracts and proposals sent to Bryan Brown and Libby Worth

End June 2017: Response from editor and, if successful, invitation to submit contribution

July to mid December 2017: writing/preparation period for writers, artists etc.

August 30th 2017 – deadline for discussing TG contributions with Dick and Simon

Early December to Early Feb 2017: peer review period

January 31 2018 – deadline for submission of all TG material to Simon and Dick

Mid Feb  –  end April 2018: author revisions post peer review

End April to June 2018: All main articles into production with Routledge

Early July 2018: Training Grounds articles into production

July to September 2018: typesetting, proofing, revises, editorial etc.

October 2018: publication as Issue 9.3.

 

We look forward to hearing from you.

Ric Allsopp, Bryan Brown, Dick McCaw, Simon Murray & Libby Worth

 

 

Feedback requested for new online digital performer training resource

A pilot has been launched by Profs Paul Allain and Frank Camilleri which promises to be a rich resource of training with a nice balance of student, teacher, trainee voices. To feedback on its development go to:

https://thedigitalperformer.co.uk/2016/10/04/test/

Their full message is below:

Our Leverhulme-funded project for Methuen Drama Bloomsbury is well underway. We are now seeking your input ahead of our second stage of filming in early January.
Please go to this website https://thedigitalperformer.co.uk and click on the Physical Actor Training section to view our films and provide your responses. All feedback will be anonymous. Do please share this as widely as possible.
The digitalperformer website will be developed further over the course of 2017 to house our research material and encourage dialogue.
Many thanks in advance for your contribution, which will make a vital difference to our resource.
Best wishes,
the A-Z team
Paul Allain, Stacie Lee Bennett, Frank Camilleri, Peter Hulton

 

 

Issue 7.3: Training and Interculturalism is now available

The editors of TDPT and of this special issue on intercultural training (7.3) are delighted to announce that it is now available online. Check it out here:

http://www.tandfonline.com/toc/rtdp20/current

If you don’t have institutional access the articles by Electa Behrens and Tara McAlister-Viel will be free-to-access very soon. In the meantime, the editorial by Phillip Zarrilli, T Sasitharan and Anuradha Kapur and the Training Grounds editorial by Royona Mitra are free-to-access permanently.

Please do let us know what you think.

Stanislavsky symposium – booking and call for papers

Dear Colleagues,
A brief update on information about The S Word event in Prague (24th to 26th March 2017).
The deadline for receiving proposals for papers, practical sessions or panels is 30th November 2016.
Please submit an abstract of no more than 300 words.
Papers should be of a maximum 20 minutes, practical sessions 45 minutes, and panels with a minimum of 3 presenters, 60 minutes.
Proposals should be sent to me at this address (paul.fryer@bruford.ac.uk).
Online booking is available now.
There is an early-bird booking rate of £140 (representing a 30% reduction on the full rate) available up to 2nd January.
Please visit:

http://store.bruford.ac.uk/browse/extra_info.asp?compid=1&modid=1&deptid=10&catid=115&prodvarid=229

Information on accommodation will be available at the end of November.
I shall look forward to seeing some of you in Prague.
Regards,
Paul.

Professor Paul Fryer FRSA, FHEA.

Associate Director of Research

Head of The Stanislavski Centre

Research Degrees Coordinator

Editor in Chief, Stanislavski Studies (Routledge/Taylor & Francis)

Michael Chekhov Survey on behalf of MICHA

Please consider filing in this survey, designed to track the impact of Michael Chekhov and Chekhov training.
When MICHA formed in 1999 there were comparatively few places to practically engage the Chekhov technique. As our Association approaches our 20th anniversary we decided we want to understand more about how and where the work is adapting and thriving around the world. Toward this end we have created the ‘Michael Chekhov Survey’; and I am writing to invite you, as one of the leaders in the Chekhov community, to share the link to our survey with your community.
We will be gathering responses to our survey through October 31 and hope you can help us to reach out to all the corners of the Chekhov world. While some of the questions in the survey relate to MICHA directly, many do not and the individuals taking the survey can choose to answer only the questions that are relevant to their experiences. We hope to hear from performers, teachers, directors, scholars, art activists, art therapists and any others who are engaging the Michael Chekhov work in meaningful ways.

Thanks to those of you who have already answered the survey personally – and if you haven’t yet completed the survey, please do!
Here is the link to forward to your community so that they can connect with the survey:  https://www.cvent.com/d/yfqh6p
We look forward to sharing the outcome of the survey with the Chekhov community in the coming year.
Sincerely,
Jessica & Joanna
—-
Jessica Cerullo
MICHA, the Michael Chekhov Association, Managing Director

 

Joanna Merlin
MICHA, the Michael Chekhov Association, President