TDPT Issue 11.4 Published

We are delighted to announce issue 11.4 of TDPT.  With this issue we are formally ‘a Quarterly’, both in the planning and the execution. As you will see, this is another very full issue, replete with six long-form articles, threaded through with postcards, a vibrant transcribed discussion, book and event reviews and a beautiful obituary, marking the passing of our dear friend Ali Hodge, and complementing a moving series of blog posts already published.

Look out for another innovation too: Speaking Image which takes forward – in microcosm – a key debate we have been having in the journal since its inception: how are embodied training practices communicated across media – and what does the interplay of image and word offer to this communication?




Editorial: dedicated to the memory of Alison Hodge (1959–2019)
Jonathan Pitches, Libby Worth, Thomas Wilson & Roanna Mitchell


Cut-Paste-Repeat? The maintenance of authoritarian pedagogies through tertiary dance education in China
Nicholas Rowe & Xi Xiong


Joy is the way
Dana Blackstone


Body awareness in acting – a case study of TRE as a supporting tool for drama students’ personal and professional development
Cathrine Scharff Thommessen & Marit Fougner


Waiting is a limitation
Ingrid Mackinnon


Embodying one’s teaching identity – Making the tacit explicit
Sherrie Barr


It only takes a spark…
Jo Ronan

The spark and the journey
Diana Serbanescu


Sustaining dancer wellbeing through independent professional dance careers
Luke S. Hopper, Peta Blevins, Shona Erskine, Danica Hendry, Raewyn Hill & Richard Longbottom


Kitchen contemporary dance classes in times of COVID-19, Dance Objects (DO): Dancing the onion
Michelle Man


The psychological benefits of circus skills training (CST) in schoolchildren
Nick Neave, Angie Johnson, Kathryn Whelan & Karen McKenzie


To (take a) Stand
Tina Carter


‘The Gauntlet’; enacting social transformation through the facilitation of community in ensemble actor training
Dana Blackstone

Extended Conversation

PLAY, COMPLICITÉ, DISPONIBILITÉ: a dialogue between Mark Evans (ME) and Simon Murray (SM) at the National Theatre in London, November 2018
Simon Murray & Mark Evans

Speaking Images

Twists, turns and a loose web of contradictory truths
Karen Christopher

Drawing as part of a performance practice
Chris Crickmay

Theatre of the everyday – a way of going for a walk
Chris Crickmay

That, there, then…Now
Aiden Condron & Elena Benedettini

Book Review

Strategies for Neurodiversity and Dyslexia in Actor Training: Sensing Shakespeare, by Petronilla Whitfield
Janet Gibson

Events Review

Technology & Performer Training (Online) Hosted by University of South Wales May 18th, 2020
Denis Cryer-Lennon


Ali Hodge – 1959–2019. A luminous presence: directer, trainer, educator, author, coach, friend
Katie Normington





Sherrie Barr (MFA, CMA) is currently Courtesy Professor of Dance in the School of Music and Dance at University of Oregon. Her career spans over four decades, teaching and choreographing in diverse dance programs in U.S. higher education, as well as a Fulbright Lecturer in Lisbon, Portugal. Her published scholarship focuses on dance pedagogy through the intersecting lens of somatics, feminist pedagogy, and community dance practices. Barr is also Associate Editor of the Journal of Dance Education.

Dana Blackstone is an actor, researcher, and Module/Year Coordinator for BA American Theatre Arts at Rose Bruford College. She is a graduate of Royal Central School’s MA Actor Training and Coaching, and is a recipient of Canterbury Christ Church University’s Full-time University Scholarship, which she is utilising towards her PhD exploring compassion-based practice and community creation in a feminist ensemble actor training. Dana has presented research internationally and in a number of academic communities. Her interests include intersectional feminist practice/pedagogy, community, actor training and self/social development, and the celebration of overlooked, historically marginalised contributors to the actor training canon.

Marit Fougner is associate professor at Oslo Metropolitan University College of Applied Sciences, Faculty of Health Sciences; Department of Physiotherapy. Her lecture topics are: qualitative research methods, research ethics, evidence based practice, manual skills training. Fields of research and research topics: Learning models bridging theory and practice, inter professional education, client- centered physiotherapy, cultural competency in physiotherapy, somatocognitive therapy (SCT) for chronic pelvic pain in women, aging, health and welfare.

Luke Hopper Completed a PhD specialising in the prevention of dance injury at the University of Western Australia’s in 2011. Dr Hopper coordinated the biomechanics module in the pioneering Master’s of Dance Science at the Trinity Laban Conservatoire of Music and Dance in 2010. Dr Hopper’s work has involved several collaborations with international ballet companies such as the Birmingham Royal Ballet and with industry partners Harlequin Floors. Dr Hopper continues to work with the Australian Society for Performing Arts Healthcare in the development and dissemination of health evidence in preventing injury and illness in performing artists.

Karen McKenzie is a Health and Care Professions Council registered/Chartered Clinical Psychologist and Professor of Psychology at Northumbria University. She studied Psychology at Edinburgh University and gained a postgraduate degree and doctorate in Clinical Psychology, and MSc in elearning at the same institution. She worked as both a clinical psychologist and academic for many years before joining Northumbria University in 2014. She has an interest in the health and wellbeing of adults and children, particularly those with developmental disabilities. She is a member of the Circus Research Network and has published over 200 articles.

Nick Neave is Professor in Psychology at Northumbria University. He studied Psychology at Newcastle University and then gained a Post-Graduate Certificate of Education at the same institution. After working as a primary school teacher he studied for his PhD at Durham University, gaining a lectureship at Northumbria University in 1995. Since then he has developed his expertise in the assessment of personality and behaviour; over recent years he has developed a specialism in the biomechanical analysis of human movements, and in the psychological benefits of circus skills training. He is a member of the Circus Research Network. He has published over 80 articles and one textbook.

Nicholas Rowe is an Associate Professor in Dance Studies at the University of Auckland, an Adjunct Professor at Chengdu University, and an Associate Investigator in ArtsEqual, CERADA, Academy of Finland. He is a graduate of the Australian Ballet School and has a PhD from the London Contemporary Dance School. His academic publications explore power, political philosophies and education in the arts.

Cathrine Scharff Thommessen holds a MA in Pedagogy (2017), University of Oslo. The topic of her Master thesis was stress and bodily regulations in young boys in prison. She is the first author of a book recently published at a renowned academic publishing house aimed at educators and therapists about the importance of dealing with their own stress reactions in trauma informed care. She has diverse theoretical and practical background in the medical and somatic field, as well as a BA in dance and pedagogy. She has been working as a supervisor in stress regulation at NSKI University College since 2011.

Xi Xiong is a lecturer in the Dance Academy of Sichuan Normal University. She graduated from the Beijing Dance Academy and has a Masters degree in Creative and Performing Arts from the University of Auckland. Her research focuses on critical dance pedagogy in China, especially in the field of tertiary dance education.