Six years after this article was first published, the thing that strikes me is what I find in the title. ‘Seen but not heard’ was my effort to create something brief and memorable for the potential reader, and in choosing it of course I was thinking about all the ways in which an actor’s body is put to work (and put at risk), in a tension between business, art and the personal which we often see but rarely discuss.
What I didn’t reflect on so much at the time was where that phrase comes from: the old saying, ‘Children should be seen and not heard’. This English proverb dates from the 15thcentury, where it was originally directed primarily at young women: ‘A mayde schuld be seen, but not herd’ (John Mirk, ca. 1403).
This opens up a couple of things for me that I don’t discuss in the article, but which I think continue to be important:
In the middle of last year when we were considering how best to celebrate 10 years of TDPT, we focused in on the idea of 10 free-to-access articles representing the last decade of the journal’s activity: A Desert Island Discs, or Training Top Ten.
That was before the profound changes brought about by the global pandemic, an event which seems to have carved history into two: BEFORE and AFTER. Then, in the blissful period of BEFORE, we had no idea how precious online resources would be, how far the digital space would become home for so many of us, so quickly and involuntarily.
Now in the deeply unsettling and unknown period of AFTER, this selective retrospective of the Journal’s activity since 2010, joins an unprecedented landscape of free digital resources and innovative online endeavour gifted to the world. In our selection, editors, Libby and Jonathan have tried to represent the international and intellectual diversity which has characterised contributions to TDPT from the very beginning. In doing so, we have had to leave out the vast majority of the excellent contributions we have published over the years. What we offer here, then, is a snapshot of TDPT’s sizeable intervention into the field of Performer Training, one produced in what now seems a different world. If you can, please read every one of the free to access articles, and engage with us and the authors, in the comments box on the blog. Why not start, where it all began in 2010, with Marijke Hoogenboom’s, ‘Building with Blocks’ article? Her final words, turning Kafka on its head, are more pertinent than ever: ‘We are here, so there is hope’.