In the whirlwind of PhD study, teaching, and the endlessness of admin tasks associated with these activities one can forget that there is very exciting research happening within the performer training world. It is only when you have the opportunity to attend a conference with the diversity of program that is included in the TaPRA ‘Performer Training’ working group, which took place at the University of Salford August 30th-September 1st, that you fully understand that there are others thinking and working fruitfully on this topic in research terms. Continue reading
This session began Day Two of TaPRA. The three papers in the sessions all drew upon the personal experiences of the presenters as artists and performers. The papers questioned and reconsidered traditional paradigms of performer training for comedy and theatre. Continue reading
The Training and the Ensemble/Training Beyond Training session of the Performer Training Working Group at TaPRA Annual Conference 2017, included three different modes of sharing new knowledge and new practice. The session started with the group’s reflective discussion about the blog “Tuning: Preparing to Perform Gaudete with OBRA Theatre Co.”, compiled and edited by Eilon Morris with contributions from Kate Papi, Oliviero Papi and Fabian Wixe. The session continued with the presentation of Jane Turner’s and Patrick Campbell’s paper “The End(s) of Training: Three Case Studies from the Third Theatre”. The session ended with the workshop “The Ends of Your Training Revisited—A Timeline Experience”, designed and delivered by Ysabel Clare.
After two long days of paper presentations, attending a session that involved three different modes of sharing findings, brings attention not only to the overall theme of how specific actor-training practices affect the individual/ensemble but also about the complications and challenges of the sharing mode itself.
Eilon Morris, Kate Papi, Oliviero Papi and Fabian Wixe are all members of an ensemble that creates work under the direction of the core members of OBRA Theatre Co., Kate Papi and Oliviero Papi. Inspired by Peter Brook’s use of the term ‘tuning’ for ensemble work, OBRA Theatre Co. members give an insight into specific exercises that they use for the purpose of pre-performance preparation. The three exercises of this first sharing mode— ‘Bouncing’, ‘Balls’ and ‘Tuning’—are described in the Theatre, Dance and Performance Blog in a ‘workbook’ format. The sharing structure of each exercise includes basic description, how each exercise was deposited to the training capital of the performer who introduced the exercise to the group and the main objectives of the exercise.
Carlos Simioni, Mia Theil Have and Carolina Pizarro are three actors who have a training relationship with Eugenio Barba’s Odin Theatre. Turner and Campbell share the actors’ training experiences, through a critical analytical account of the actors’ testimonies. Turner and Campbell’s critical analysis is driven by Barba’s writings, but they also draw on Gilles Deleuze’s and Félix Guattari’s philosophical concepts in order to elucidate their investigation. This second sharing mode uses a ‘case studies’ format: the three actors’ testimonies are used as a basis for offering different perspectives in which a specific practice may affect different individuals who embody different cultural and actor-training backgrounds.
The last sharing mode of the session was a practical workshop, which, under Clare’s facilitation, invited the participants to revisit memories of their own training life. The participants were invited to explore how this new embodied experience resonates through their prior training capital. The practical process inspired each participant to generate their own findings about how their past and future training work with and against each other.
Closing my report for the Training and the Ensemble/Training Beyond Training session, I would observe how the challenge of ‘curating’ innovative sharing modes in academic conferences speaks to contemporary challenges not only of participatory performance but also of practice research. I will summarise my point in a series of broader and more focused questions:
How much interaction is enough to keep a participant interested?
When does interaction distract from the new knowledge?
What is the most appropriate way of disseminating specific forms of new knowledge?
What are the expectations of specific audiences?
What is a ‘taster’/brief description of a practice and how can it be framed differently for academic and other environments?
How do different modes of sharing new knowledge to actor trainers reveal common assumptions about how an actor trainer should behave, like willingness to actively participate (thou shalt not refuse peers’ invitations to participate) and ability to use technology (thou shalt not live anymore without blogging and microblogging)?
Evi Stamatiou is an actor, director and writer who works across stage and screen with 14 years of international experience. She is currently finishing a PhD in Actor Training and Direction at the Royal Central School of Speech and Drama. She trains actors in conservatoires and universities and is currently the Programme Coordinator for the BA (Hons) Acting at the University of Chichester. She specialises in comedy and in using a variety of text-based and devising practices that tackle under-representation and misrepresentation issues in the acting industry. Parts of her academic work are in preparation or have been published by Intellect Books, Routledge, Bloomsbury Methuen Drama and McFarland & Co. She also specialises in the development of new work, having workshopped new writing for various platforms, including Lincoln Centre Theatre Directors Lab. She is an Associate Artist to New Theatre Royal. She is represented by RD Casting in all aspects of her creative work. You can see more about her work at www.evistamatiou.com.