We are delighted to flag up the publication of 11.1 – the open issue of TDPT and the one that marks the completion of 10 years of the journal. It was disappointing to have to postpone TDPT birthday celebrations, due to Covid-19, planned for Leeds earlier in the month. However, the flood of appreciative emails that came in marking the 10th Birthday were heart-warming and inspiration for the next decade.
When you have had a chance to look through the contents do feel free to respond in our Comeback pages of the blog. We’d love to hear reactions to this diverse and lively collection of contributions.
Volume 11 Issue, 1 March 2020
CONTENTS
Editorial
Libby Worth, Jonathan Pitches and Thomas Wilson
Articles
Student and teacher attitudes towards overtraining and recovery in vocational dance training
Peta Blevins, Shona Erskine, Gene Moyle, and Luke Hopper
From bodymind to bodyworld: the case of mask work as a training for the senses
Frank Camilleri
Essai
On horses and contact
Thomas Wilson
Articles
How might Embodied Cognition, Contact Improvisation and Meisner’s Standard Repetition Exercise together illuminate actor movement training? Tine Damborg
The first class: Harold Lang and the beginnings of Stanislavskian teaching in the British conservatoire
Vladimir Mirodan
Emotional character: the prospects for a personality-based perspective on embodied learning in dance
Edward C. Warburton
Examining the pedagogy of theatre lighting
Kelli Zezulka
Events Review
Michael Chekhov Advanced Masterclass at Rose Bruford College of Theatre and Performance July 15th–19th 2019, led by Lisa Dalton and Janice Orlandi
Aiden Condron
Reviews
Performing Architectures: Projects, Practices, Pedagogies
Tessa Rixon
Creativity and the Performing Artist: Behind the Mask
Mark Seton
Correction
I Correction
Notes on Contributors
The Editors
Jonathan Pitches is
Professor of Theatre and Performance at the University of Leeds in the School
of Performance and Cultural Industries. He specialises in the study of
performer training and has wider interests in intercultural performance,
environmental performance and blended learning. He is founding co-editor of
the TDPT and has published several books in this area: Vsevolod
Meyerhold (2003), Science and the Stanislavsky Tradition of
Acting (2006/9), Russians in Britain (2012) and, Stanislavsky
in the World (with Dr Stefan Aquilina 2017). His most recent
publications are: Great Stage Directors Vol 3: Komisarjevsky, Copeau,
Guthrie (Sole editor, 2018) and the monograph, Performing
Landscapes: Mountains (2019).
Libby Worth is Reader in Contemporary
Performance Practices, Royal Holloway, University of London. She is a movement
practitioner with research interests in the Feldenkrais Method, physical theatres,
site-based performance and in folk/traditional and amateur dance. Performances
include co-devised duets; Step Feather Stitch (2012)and dance film Passing Between Folds (2017).She is co-editor of TDPT and
published texts include Anna
Halprin (2004, co-authored),
Ninette de Valois: Adventurous
Traditionalist (2012, co-edited),
Jasmin Vardimon’s Dance Theatre:
Movement, Memory and Metaphor (2016).
Chapter contributions include on clog and sword dancing for Time and Performer Training (2019, she co-edited) and ‘Improvisation in
Dance and the Movement of Everyday Life’ for the Oxford Handbook of Dance Improvisation (2019).
Training grounds editors
Aiden Condron has been an actor, performance maker and actor trainer for over
twenty-five years working across the UK, Europe and the US. He is a Lecturer in
Acting at The Institute of the Arts Barcelona (IAB). Aiden was founding
artistic director of Nervousystem,
a Dublin-based international performance laboratory from 2002–2012. Recent
theatre work includes performances in a number of works by Samuel Beckett
including Westward Ho, Ohio Impromptu and That Time, performed in Japan and Russia. Aiden’s
current teaching and research activity investigates processes and practices of
actor and performer training within the domain of presence, play and action,
examining the actor’s dramaturgy as a field of autonomous creation.
Chris Hay is Lecturer in Drama in the School of Communication & Arts at the
University of Queensland, Australia. Prior to this position, he held
appointments at the University of New England, the National Institute of
Dramatic Art (NIDA), and the University of Sydney, where he completed his PhD
in Theatre & Performance Studies in 2014. He has published on Australian
theatre history and creative arts pedagogy, including his book Creativity, Knowledge & Failure: a
new pedagogical framework for creative arts (2016). His current research projects examine the origins of Australian
government arts funding, and Australia’s participation in the Eurovision Song
Contest.
Thomas J. M. Wilson is a Module/Year Coordinator for BA (Hons) European Theatre Arts at
Rose Bruford College of Theatre and Performance, and a Fellow of the Higher
Education Academy. Initially training in Equestrian Vaulting he competed at
European-level in the mid-1990s. Subsequently he has engaged in practices
rooted in the intersection between dance and theatre methodologies, working as
both a performer and director/choreographer in a range of contexts. Thomas
served on Oxford Dance Forum’s Steering Group (2008–10) and has regularly
contributed to Total Theatre Magazine since 2001. He is an Associate of
Gandini Juggling working as their Archivist and Publications Author. He is the
author of Juggling Trajectories:
Gandini Juggling 1991–2015, which
was shortlisted for The Society of Theatre Research Book Prize 2016.
The Contributors for 11.1
Dr Peta Blevins is a sessional academic at the Western Australian Academy of Performing
Arts and works as a freelance dance educator, researcher, and performance
consultant specialising in dance and performance psychology, safe dance
practice, and mindfulness skills for performance. Her research interests
include enhancing psychological recovery in dance, mindfulness and performance,
and health and wellbeing in the performing arts. Peta is a member of the
International Association of Dance Medicine and Science, and is currently a
National Executive Committee Member of the Australian Society of Performing
Arts Healthcare.
Frank Camilleri is Associate Professor
in Theatre Studies at the University of Malta where he also directs the School
of Performing Arts’ research group for 21st Century Studies in Performance. He
is Artistic Director and founder of Icarus Performance Project, which serves as
the main platform of his practice as research (www.icarusproject.info). He has
performed and given workshops since 1989, and has published various texts on
performer training, theatre as a laboratory, and practice as research. He is
the author of Performer Training
Reconfigured: Post-psychophysical Perspectives for the Twenty-first Century
(Methuen Drama 2019).
Tine Damborg (DK), graduated
as a Master of Fine Arts in Movement: Teaching & Directing, from Royal Central School
of Speech and Drama (2016-2018). She holds the equivalent to a BA in
Contemporary Dance from The Danish School of Performing Arts (1992-1995) and has worked as a freelance
dancer and performer in dance shows, performances, rock-musicals, touring
children’s theatre, and site specific works. In 2005 she began to
develop her dance, movement and
yoga -teacher
practice. In 2005 she founded the Danish youth contemporary dance company, “U-kompagniet” and
works as
a movement specialist at
The Danish School of Performing Arts, Acting department in Odense.
(EDITED BY EN)
Dr Shona Erskine is a registered psychologist in
private practice and an Adjunct Lecturer at the Western Australian Academy of
Performing Arts, Edith Cowan University. Dr Erskine has an expertise in
delivering psychology for performing artists through professional companies,
universities, and in private practice. Dr Erskine has developed curriculum in
areas of mental wellbeing and creativity with an interest in disseminating best
practice models to performing artist, teachers, and directors.
Dr Luke Hopper is a lecturer and Director of the Dance Research Group at the Western
Australian Academy of Performing Arts. Dr Hopper has published over 20 papers
in the field of performing arts health in collaboration with major ballet
companies and industry partners. In the interests of disseminating of health
evidence which prevents injury and illness in performing artists, Dr Hopper has
served on the Board of Directors (2014-2016) of the International Association
of Dance Medicine and Science and as President of the Australian Society for
Performing Arts Healthcare.
Vladimir
Mirodan, PhD,
FRSA is Emeritus Professor of Theatre, University of the Arts London. Trained on the Directors Course at Drama
Centre London, he has directed over 50 productions in the UK as well as
internationally and has taught and directed in most leading drama schools in
the UK. He was Director of the School of
Performance at Rose Bruford College, Vice-Principal and Director of Drama at
the Royal Conservatoire of Scotland, Principal of Drama Centre London and
Director of Development and Research Leader, Drama and Performance, Central
Saint Martins. He is currently the Chair of the Directors Guild of Great
Britain Trust and of the Directors Charitable Foundation.
Professor Gene Moyle is a graduate from the Australian Ballet School and QUT Dance,
retraining as a sport and exercise psychologist following a brief career as a
professional dancer. Gene has focused upon both the application and research of
performance psychology and performance enhancement, particularly within the
performing arts and has significant experience in working with and leading
multidisciplinary teams within high performance settings (i.e., Olympic
programs). She possesses specific expertise in the area of career development
and transition in both elite sport and the performing arts, and contributes
regularly to the literature on the ethical considerations of sport, exercise
and performance psychology practice.
Edward C. Warburton is Professor of Dance at the
University of California, Santa Cruz. Warburton received early training at the
(U)North Carolina School of the Arts and danced professionally with American
Ballet Theater II, Houston Ballet and Boston Ballet. His interest in cognitive
dance studies began when studying for a doctorate in human development and
psychology at Harvard University. A widely published author, his research
explores the relational practices and cognitive processes that support (or
undermine) the doing, making, and viewing of dance. Warburton is the recipient
of several awards including UCSC’s Excellence
in Research (2012), the U.S. National Dance Education Organization’s Outstanding Dance Researcher (2016), and
Teachers College’s Sachs Distinguished
Lecturer at Columbia University, New York City, NY (2017).
Kelli
Zezulka
is a postgraduate researcher in the School of Performance and Cultural
Industries at University of Leeds. A practising lighting designer, she is also
a non-executive director of the Association of Lighting Designers and editor of
its bi-monthly magazine, Focus. Her
research interests include theatre lighting education, creative collaboration,
early lighting designers in the UK (1950s to 1960s), trans-languaging and
code-switching, and interactional sociolinguistics.
