Theatre, Dance and Performance Training Journal (TDPT)
Special issue: Performer Training in English as an Additional Language
To be published in June 2026
Call for contributions, ideas, proposals, and dialogue with the editors
Guest Editors: Dr Evi Stamatiou, University of East London ([email protected])
Hansel Tan, Villanova University ([email protected])
Dr Mario Moya, University of East London ([email protected])
Training Grounds Editors: Aiden Condron and Proshot Kalami
Training in English as an Additional Language (Issue 17.2)
Over the past 15 years, performance training has increasingly focused on fostering inclusive practices that embrace diverse and intersecting identities within Higher Education (HE) and other training settings. Among the barriers faced in performer training, English as an Additional Language (EAL) has emerged as a central concern for many practitioners and scholars. This special issue will explore intersections between performer training and EAL in a variety of settings, including laboratory-style studios, ensemble-based practices, devising, circus, applied theatre, community theatre, and interdisciplinary and intercultural forms.
Building on discussions from the 2024 TaPRA Performer Training Working Group Conference and the Acting at ATHE Working Group Conference (details available here and here), this issue will examine the impact of EAL literacies and fluency on training for speakers of languages other than English. Topics will include the relationship between EAL proficiency and creativity, the influence of EAL on wellbeing, institutional support for EAL learners, and the integration of EAL into training curricula. With contributions from performance, linguistics, and education, this issue aims to provide a nuanced view of the evolving landscape of EAL training in performance.
Innovative and inclusive pedagogies draw on cognitive science, cultural studies, and second-language acquisition research to help EAL speakers overcome barriers related to performance standards (Espinosa & Ocampo-Guzman, 2010) and career prospects (Yuen, 2017), recognising bilingualism as a strength (Landon-Smith, 2020), and addressing the wellbeing challenges of performing in an additional language (Coronel, 2023; Stamatiou, 2024).
Traditional training approaches are increasingly challenged to create equitable environments for marginalised social groups (Ginther, 2023; Pearlman & McLaughlin, 2020; Peck & Stamatiou, 2024; Whitfield, 2022). EAL experiences have often been discussed in the context of ethnic identity; however, training in a second language may also transcend ethnic backgrounds. EAL students in English-speaking programmes are often expected to meet the same standards as native speakers, and while some support exists for academic writing, support for the performance aspects of training is limited, leading to significant cognitive and emotional challenges.
In this context, it is essential to consider the specific challenges associated with speech training in actor education. Cynthia Santos DeCure notes that “when speech training stifles cultural linguistic identity, the actor may find it challenging to bring their full self to the work” (2023, p. 117). Her insights on “linguistic insecurity” in voice training resonate with EAL speakers’ experiences in actor training. This special issue supports DeCure’s call to
“interrogate, contextualise, and replace historically oppressive systems with inclusive pedagogies” for a future that is “multicultural, multi-dialectical, and multi-lingual” (2024, p. 127).
Given the significance of EAL in performer training and its role in facilitating international cultural exchange, this special issue calls on practitioners, educators and scholars to reflect on questions such as:
- What challenges might EAL performers face during training in movement, voice, acting, musical theatre, dance, digital technology, live art, circus, or devising?
- What established practices may need to be reconsidered, and what implications does this have for future training?
- How can studios adapt to accommodate EAL learners?
- How can we equip performers to navigate language-specific challenges?
- How might we support trainees whose first languages are non-European, such as Mandarin and Arabic?
- What are the unique considerations for students with intersectional identities?
- How does performance knowledge transfer to a new language?
- How do we perceive ourselves performing in a second language?
- How can we support performers in using their whole linguistic repertoires?
Suggested topics and provocations include:
- EAL use and text-based training
- Processes for training EAL students in live and virtual environments
- Addressing problematic genealogies in training practices
- Practice Research on EAL use in performance training
- Defining boundaries and narratives around EAL in training
- Performer training approaches in ESOL (English for Speakers of Other Languages) schools in the UK and beyond
- Contributions from multi-lingual spaces and performance ensembles
- Psychophysical dimensions of performing and training in an additional language
Submission Details To express interest in contributing to this issue, please email a 250-word abstract to Dr Evi Stamatiou, Hansel Tan, and Dr Mario Moya. Training Grounds proposals should also be sent to Aiden Condron ([email protected]) and Proshot Kalami ([email protected]), copying Evi, Hansel, and Mario.
Deadline for abstracts: 9 January 2025
Theatre, Dance and Performance Training has three sections:
▪ “Articles” features contributions in a range of critical and scholarly formats (approx. 5,000-6,500 words)
▪ “Sources” provides an outlet for the documentation and analysis of primary materials of performer training. We are particularly keen to receive material that documents the histories and contemporary practices associated with the issue’s theme.
▪ “Training Grounds” hosts shorter pieces, which are not peer reviewed, including essais (more speculative pieces up to 1500 words); postcards (up to 100 words); visual essays and scores; Speaking Images (short texts responding to a photo, drawing, visual score, etc.); and book or event reviews. We welcome a wide range of different proposals for contributions including edited interviews and previously unpublished archive or source material. We also welcome suggestions for recent books on the theme to be reviewed; or for foundational texts to be re-reviewed.
Innovative cross-over print/digital formats are possible, including the submission of audiovisual training materials, which can be housed on the online interactive Theatre, Dance and Performance Training journal blog: https://theatredanceperformancetraining.org/.
Special Issues of Theatre, Dance and Performance Training (TDPT) are an essential part of its offer and complement the open issues in each volume. TDPT is an international academic journal devoted to all aspects of ‘training’ (broadly defined) within the performing arts. It was founded in 2010 and launched its own blog in 2015. Our target readership comprises scholars and the many varieties of professional performers, makers, choreographers, directors, dramaturgs and composers working in theatre, dance, performance and live art who have an interest in the practices of training. TDPT’s co-editors are Sarah Weston (University of Manchester) and James McLaughlin (University of Greenwich).
Issue Schedule
- 9 January 2025: Abstract submission deadline
- 9 March 2025: Editors’ response and invitations to submit full contributions
- March – 9 July 2025: Writing/preparation period
- July – early October 2025: Peer review period
- October 2025 – January 2026: Revisions following peer review
- End of March 2026: Final manuscript submission
- June 2026: Publication as Issue 17.2
We look forward to hearing from you.