Special issue: Touch and Training to be published June 2023
Call for contributions, ideas, proposals and dialogue with the editors
Dr Ha Young Hwang, Korea National University of Arts, School of Drama, Seoul, South Korea (firstname.lastname@example.org)
Dr. Tara McAllister-Viel, East 15 Acting School, University of Essex, London, UK. (email@example.com)
Liz Mills, AFDA The School for the Creative Economy, Cape Town, SouthAfrica (LizM@afda.co.za).
Training Grounds editor
Dr Sara Reed, Independent researcher, writer and project manager (firstname.lastname@example.org)
Touch and Training (Issue 14.2)
Global happenings throughout this past decade, such as ♯MeToo, ♯blacklivesmatter, Asian Spring, Arab Spring, the Marriage Act (2013 UK) and Russia’s “Gay Propaganda” law (2013), and COVID-19, have radically repositioned touch in performance and performer training. Touch is a socio-cultural event, a political act between two people as well as a network of power positions and layers of institutional infrastructure: who touches, how does/should one touch, why and when can/should touch occur? These questions when raised within performance traditions, theatre, film and television rehearsal and performance spaces and performer training studios ask creative artists to (re)consider the ways we think about, talk about and stage touch: for instance, the rise of the “intimacy coordinator” in response to concerns about the inequitability of touch during re-enactments of intimacy is only one of a number of recent developments in performance-related fields (re)considering the role of touch during the creative process.