The Studio is the area of the TDPT blog dedicated to the audio-visual documentation of training practices. We hope that over time the studio will act as a repository of performance training materials, making them available for research and for use in studios and classrooms across the world. Some materials will also provide models of how to document training, possibly with short examples of reflective writing to complement the documentation.
Audio-visual materials should clearly demonstrate a particular aspect of the research/practice. They can be a recording of a training exercise, a series of comments/interviews on a particular approach, or a provocation to adopt, rethink or transform a training example – and an invitation to share these transformations on the blog.

There is great mystery surrounding what really goes on in our acting workshops. Almost a mystique. We hear of particular uses that teachers are making of Alexander [Technique], Tai Chi Chuan, yoga, the work of Slater, Horney, Berne, Laing, May, Lowen, Rogers, Reich, Levi-Strauss; of the exciting things being done with actor training methods with disturbed children, of the extension of theatre games into new areas of gestalt, of new thoughts on Stanislavski System. But little of this work and the ideas, experiences, goals and philosophy which lie behind it, is open to use for sharing. Mostly, there is silence.
Richard Brown (ed), Actor Training I, The Institute for Research in Acting, 1972: xiii.

When I began to think about an introductory statement to the Studio Space, I was reminded of this quote by Richard Brown in a volume, now out of print, that aimed to capture the actor training practices that were developing in the States at the time. What has changed and what has remained the same since then? Which of the observations in the quote above strike a chord today and which ones feel outdated?
To be sure the eclectic mix captured in Brown’s long list is still a feature of contemporary training landscape; some of the names no longer ring a bell, but virtually all of the named disciplines have survived and developed into valid training methods for performance. Partially as a result to this, Brown’s reference to ‘acting workshops’ feels quite outdated, since our instinct today is to speak of ‘performers’ and thus designate the breadth of both training regimes and subsequent work performing artists might be engaged in.
Brown also refers to a perceived silence that is disproportionate to the wealth of experimentation he recognises. This too might be considered outdated; training has since enjoyed numerous publications, conferences, professional bodies and of course a dedicated journal, this blog is part of. And yet a sense of Brown’s ‘mystique’ lingers. The practical and embodied nature of the discipline, its practice in small groups, its potential to effect change over a long period of time often leaves one with the sense that, no matter the number of demonstrations, conferences and publications, there is still a great deal of sharing to be done.
The TDPT Blog then is a step in this direction. The Studio Space, in particular, by testing and harnessing the potential of recording technologies to capture and transmit the tacit, kinesthetic, and practical dimensions that characterise training experiences aims to push the doors of studios around the world further ajar, so that when we are inside them we can look out and when we are outside we can look in. Welcome.