Tag Archives: TDPT Journal

TDPT 11.3 Against the Canon

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We are delighted to announce the publication of Theatre, Dance and Performance Training 11.3, “Against the Canon”, guest edited by Mark Evans (Coventry University) and Cass Fleming (Goldsmiths University), with Training Grounds section edited by Sara Reed (Coventry University)

This special issue of Theatre, Dance and Performer Training addresses the forgotten and marginalised contributions made by various collaborative artists and practitioners to the development of performer training during the twentieth and twenty first centuries. 

Many previous publications on training have tended to focus on canonical figures and the dominant historical performer-training narratives. Less attention has been paid to collaboration as an important characteristic of avant-garde performance training, and to the complex exchanges through which pedagogy and work has been developed and disseminated.  This journal issue intentionally centralises these acts of cross-fertilisation and collaborative exchanges, thereby shifting the focus away from canonical individual figures and towards frequently overlooked or under-recognised practitioners and pedagogues. In doing so, we are aware that this special issue is not alone in advocating for such a shift of focus. In many respects we see this issue as one particular marking point in a turn away from a linear, white and patriarchal history of theatre, dance and performance training.

Our contributing authors challenge the manner in which traditional performer training histories often still seek to capture the ‘purity’ of established methods and to identify individual (often white male) owners of successful techniques.  This issue will seek to challenge the ways in which practitioners such as Stanislavsky, Craig, Copeau, Laban, Lecoq, Chekhov and Meisner are often uncritically revered as ‘Master Teachers’ and the ways in which this obscures or negates the existence of wider networks of artists who contributed to the development of these training practices, many of whom were women. To this extent our authors are not looking simply to critique existing canonical figures, but to bring forward the work of those who are usually ignored.

Contents

Editorial

Mark Evans, Cass Fleming & Sara Reed

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ATHE Awards: Konstantinos Thomaidis’ Honorable Mention for Excellence in Editing on TDPT 10.3, ‘What is new is voice training?’

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Huge congratulations from all at TDPT to Konstantinos Thomaidis who has just won the Honourable Mention for Excellence in Editing at this year’s ATHE Awards, for his special issue for TDPT ‘What is new in voice training?’ 10.3. The award was announced today at the annual (online) conference. The full list of winners and mentions in this category are posted here.

Konstantinos’ success arises from his tremendous hard work and dedication as a guest editor on the journal combined with his extensive knowledge and experience in the field of voice studies. Jonathan and I as co-editors were full of admiration at the way Konstantinos overcame some initial setbacks that were out of his control to ensure the quality and adventurousness of the issue.

In his introduction to the special issue Konstantinos offers a brief survey of the literature and practices of the ‘emergent field of voice studies’ and comments in the following way:

‘These studies have invited us to listen to the voice anew: voice as that which encompasses and exceeds textuality and linguistic meaning-making, voice as embodied and materially intersubjective; voice as both individual and political, affective and ideological, semantically potent and pragmatically interpolated, demandingly present and abjectly haunted – as simultaneously knowable and perpetually undefinable.’ (2019: 295).

And listen he does in his role as guest editor, inviting us to engage with the wide range of authors who address ‘what is new’ through both varied content and in a range of different formats.

To celebrate this achievement, Taylor and Francis Online and the Theatre, Dance and Performance Training journal has made the following three articles from the Special Issue free to view until October:

Beth Osnes, Chelsea Hackett, Jen Walentas Lewon, Norma Baján & Christine Brennan (2019) Vocal Empowerment Curriculum for young Maya Guatemalan women, Theatre, Dance and Performance Training, 10:3, 313-331, DOI: 10.1080/19443927.2019.1637371

Konstantinos Thomaidis (2019) Between preservation and renewal: reconsidering technology in contemporary pansori training, Theatre, Dance and Performance Training, 10:3, 418-438, DOI: 10.1080/19443927.2019.1645040

Mel Drake (2019) ‘Next year’s words await another voice’1: British Sign Language and voice work with D/deaf actors at the Royal Conservatoire of Scotland, Theatre, Dance and Performance Training, 10:3, 448-454, DOI: 10.1080/19443927.2019.1677388

Click here to see the full list of authors and issue contents as well as Blog posts related to the issue.

At a time when TDPT had to postpone its 10th Birthday celebrations it’s wonderful to have this moment of success, an opportunity to raise a glass to Konstantinos and shout out our congratulations – whilst listening anew, of course, to our voices. 

TDPT 11.2. Training for Performance Art and Live Art

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We are delighted to announce the publication of Theatre, Dance and Performance Training 11.2, “Training for Performance Art and Live Art”, guest edited by Heike Roms (University of Exeter).

The view that one can only practice and not practice for performance art and live art has persisted since the emergence of time-, body-, and action-based performance artworks in the 1960s. After all, to speak of ‘training’ evokes ideas of technique, mastery or tradition, ideas that the artists engaged in performance art and live art have frequently sought to challenge or altogether abandon. However, many of the artists who have shaped the history of performance art and live art have also been committed teachers; pedagogical approaches to performance practices emerged at the same time as the practices themselves; educational institutions have frequently offered material support for the making of performance works and provided a living for artists; and artist-led, non-institutional training spaces have adopted events and publications as alternative forms of curricula. Acknowledging the importance of training not just in the formation of a performance artist but as part of their continuing practice also means to value experience, expertise and professional standing as part of the work of performance art and live art.

This special issue brings together contributions that address the theme of training for performance art and live art in reference to different histories (covering the 1960s and 1970s as well as the recent present); diverse geographies (examining developments in the UK and in Portugal); institutions and anti-institutions (covering art schools, summer schools, festivals and workshop programmes); and varied approaches to teaching and training as a performative inter-generational transaction.

Gavin Butt’s ‘Without Walls: Performance Art and Pedagogy at the “Bauhaus of the North”’ traces the impact of libertarian teaching in the 1970s at arguably the most influential teaching institutions for the history of performance art in the UK, Leeds Polytechnic. In ‘Lessons from Outside the Classroom: Performance Pedagogies in Portugal, 1970-1980’, Cláudia Madeira and Fernando Matos Oliveira recount approaches to performance training as they developed in Portugal in the wake of the 1974 revolution outside of formal institutions.

Deirdre Heddon’s ‘Professional Development for Live Artists: Doing it Yourself’ explores the history of the DIY professional development scheme as an example for how training practices are being reimagined as live art practices in themselves. In ‘Training for Live Art: Process Pedagogies and New Moves International’s Winter Schools’, Stephen Greer examines the New Moves International (NMI)’s winter school as another key example for an artist-led scheme that made productive live art’s resistant relationship to established forms of performer training.

In ‘“I’ve been as intimate with him as I have been with anybody”: Queer Approaches, Encounters and Exchanges as Live Art Performer Training’, Kieran Sellars identifies in the cross-generational performance collaboration between Sheree Rose and Martin O’Brien a form of queer embodied discipline that draws on BDSM as well as Live Art lineages. And in ‘Curious Methods–Pedagogy Through Performance’, Leslie Hill and Helen Paris document the close ways in which their training methods have reflected on and contributed to their creation of live performance work.

The Training Grounds section (edited by Bryan Brown) supplements this with a collection of shorter essais, postcards, and a book review (edited by Chris Hays). Will Dickie’s expanded essai (accompanied by videos available here on the TDPT blog) investigates the application of psychophysical actor training to live art. In the issue’s second essai, a trio of practitioners (Áine Phillips, Dominic Thorpe and Tara Carroll) offer insight into three generations of Irish live art practice by detailing transformative encounters with their teachers. The two postcards for this special issue (by Sara Zaltash and N. Eda Erçin) wrestle with the entanglements of live art practice, life and communities. And Campbell Edinborough’s review of Marina Abramović’s memoir Walk Through Walls furthers the discussion of how a live artist’s work is their life while querying the ability to turn that life into a method.

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‘Seen But Not Heard’: Some thoughts on the actor’s aesthetic labour six years on

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MA Physical Acting improvisation, University of Kent (2019)

This is a 2020 response to my article ‘Seen But Not Heard: An embodied account of the (student) actor’s aesthetic labour’ (Mitchell, 2014), made available as open access as part of TDPT’s 10 year anniversary celebrations.

Six years after this article was first published, the thing that strikes me is what I find in the title. ‘Seen but not heard’ was my effort to create something brief and memorable for the potential reader, and in choosing it of course I was thinking about all the ways in which an actor’s body is put to work (and put at risk), in a tension between business, art and the personal which we often see but rarely discuss.

What I didn’t reflect on so much at the time was where that phrase comes from: the old saying, ‘Children should be seen and not heard’. This English proverb dates from the 15thcentury, where it was originally directed primarily at young women: ‘A mayde schuld be seen, but not herd’ (John Mirk, ca. 1403)[1].

This opens up a couple of things for me that I don’t discuss in the article, but which I think continue to be important:

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10 Free-to-Access Articles to Celebrate 10 Years of TDPT

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In the middle of last year when we were considering how best to celebrate 10 years of TDPT, we focused in on the idea of 10 free-to-access articles representing the last decade of the journal’s activity: A Desert Island Discs, or Training Top Ten.

That was before the profound changes brought about by the global pandemic, an event which seems to have carved history into two: BEFORE and AFTER. Then, in the blissful period of BEFORE, we had no idea how precious online resources would be, how far the digital space would become home for so many of us, so quickly and involuntarily. 

Now in the deeply unsettling and unknown period of AFTER, this selective retrospective of the Journal’s activity since 2010, joins an unprecedented landscape of free digital resources and innovative online endeavour gifted to the world. In our selection, editors, Libby and Jonathan have tried to represent the international and intellectual diversity which has characterised contributions to TDPT from the very beginning. In doing so, we have had to leave out the vast majority of the excellent contributions we have published over the years.  What we offer here, then, is a snapshot of TDPT’s sizeable intervention into the field of Performer Training, one produced in what now seems a different world.  If you can, please read every one of the free to access articles, and engage with us and the authors, in the comments box on the blog. Why not start, where it all began in 2010, with Marijke Hoogenboom’s, ‘Building with Blocks’ article? Her final words, turning Kafka on its head, are more pertinent than ever: ‘We are here, so there is hope’.

By Jonathan Pitches

A number of the authors of these articles are writing reflections on their work from their current perspective. These will be posted on this Blog in the coming weeks. The first of these is Roanna Mitchell’s reflection on her 2014 article, ‘Seen But Not Heard’, ”Seen But Not Heard’: Some thoughts on the actor’s aesthetic labour six years on.’

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TDPT Issue 11.1 published — celebrating 10 years of the journal

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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.

Extended Deadline for Proposals: TDPT Special Issue: Independent Dance and Movement Training

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Dear Colleagues,

Given the Covid-19 dramatic changes to life over the last weeks, we have extended the deadline for proposal submissions to the guest editors for the special issue of Theatre, Dance and Performance Training on ‘Independent dance and movement training to 24th April 2020.

Please would you circulate widely amongst Independent Dance and Movement academics and practitioners?

Many thanks,

                         Libby

Please see the updated Call for Proposals here:

CfP: TDPT Special issue: Independent Dance and Movement Training

CfP: TDPT Special issue: Performer Training in Australia

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Special issue on Performer Training in Australia to be published as TDPT Vol 12.3 (September 2021)

Call for contributions, ideas, proposals and dialogue with the editors

Guest editors:
Dr Chris Hay, University of Queensland ([email protected])
Professor David Shirley, Western Australian Academy of Performing Arts, Edith Cowan University ([email protected])
Dr Sarah Peters, Flinders University ([email protected])
Training Grounds editor:
Dr Soseh Yekanians, Charles Sturt University ([email protected])

Conjoined with blood and tears, the axiomatic price of supreme rigour and achievement. Sweat (water, ammonia, salt, sugar) is deemed a noble and miraculous secretion, yet we habitually strive to disguise it. […] In the unapologetic seclusion of the training space, it becomes the proof of our proud status as grafters, as corporeal, visceral, present, working.

As described in Theatre, Dance and Performance Training’s “A Lexicon of Training Terms” (3.1), sweat is a constituent part of training — a synecdoche for the tension and effort that underpin it. Sweat is also a precondition of living and training in Australia, from our corporeal engagement with a heating continent to the metaphorical ‘she’ll be right, mate’. This no sweat, laissez-faire acceptance of the status quo finds its way into training through “a willingness to ‘have a go’; a refusal to be cowed by received authority […] a characteristically Australian suspicion of influence” (Maxwell 2017, p. 326).

The image of sweat also brings with it metaphors of fear, tension and anxiety, often drawn out or extended. This sense of determination over time pushes back against a conception of Australia as the rushed continent, whose artists seek to take short cuts to success. Hugh Hunt, the inaugural director of the Australian Elizabethan Theatre Trust, cautioned as much in a 1959 public lecture:

We sometimes expect theatre to be made too quickly. Australians are impatient people, who would like their theatre to be made as quickly as wool grows on a sheep’s back. It takes many years to make it; it takes time to train and develop actors and producers. (Hunt 1960, p. 4)

What has changed since Hunt’s proclamations? What is the labour of training in Australia, and how do we train an “impatient people”? In a country where sweat comes easily, do we mistake the by-product of hard work for the work itself? Hunt, like many others in Australian performance history, speaks only for white Australians: how do (or might?) the distinctive temporalities, collaborative modalities, and lineages of practice of First Nations training and performance inflect performer training in Australia?

Despite the diversity and range of its performance ecology and the prestige in which its major training institutions are held, Australia’s influence in and contribution to key debates has, until fairly recently, remained surprisingly marginal. While much doctoral-level work has considered training in Australia, there is no authoritative, published history of Australian performer training. The history of training is thus another iteration of what Ian Maxwell terms “Australian theatrical bricolage” (2017, p. 338), its history an assemblage of sometimes contradictory facts, uncertain pathways, and unsubstantiated anecdote. In this special issue of TDPT, we endeavour to provide an update to Meredith Rogers and Elizabeth Schafer’s special issue of Australasian Drama Studies “Lineages, Techniques, Training and Tradition” (vol. 53, 2008). We also seek to curate a companion to the roundtable discussion “Training in a Cold Climate”, published in Theatre, Dance and Performance Training 5.2, by considering training in a hot climate.

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CfP: TDPT Special issue: Independent Dance and Movement Training

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Call for contributions, ideas, proposals and dialogue with the editors

Guest editors:

Henrietta Hale and Nikki Tomlinson, Independent Dance, [email protected]; Gitta Wigro, independent, [email protected]

Training Grounds Editor: Dr Sara Reed, Coventry University [email protected]

Independent Dance Training (Issue 12.2)

This special issue guest edited by Henrietta Hale, Nikki Tomlinson and Gitta Wigro draws from our roles at Independent Dance, an organisation that supports and sustains independent dance artists to develop dance as an art form. The ‘independent dance artists’ that ID engages with can be many things. They may produce or perform in choreographic works in theatres, galleries, digital formats or outdoor / informal sites. They may work as facilitators or teachers with other professionals or in community settings, engaging untrained people in dance. Or they may be practitioners from other disciplines such as fine arts, architecture or science who engage in an embodied movement practice to complement and bring new knowledge to their field.

The aim of this issue is to consider and map how movement practices that have evolved from specific traditions or situations are used and re-articulated for other purposes; and show how this plays out in inter-related, international networks of practitioners.

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Call for two Training Grounds Editors: Journal of Theatre, Dance and Performance Training, Routledge

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Now in its 9th year, the Journal of Theatre, Dance and Performance Training runs to three issues annually and attracts contributions from scholars and practitioners across the globe. As part of our tenth birthday celebrations, we are planning to grow to four issues per year and these two appointments reflect our expansion both in ambition and audience reach. The journal’s co-editors Professor Jonathan Pitches (University of Leeds) and Dr Libby Worth (Royal Holloway, University of London) are seeking to recruit two Training Grounds Editors to work closely with them and with the rest of the Training Grounds (TG) editorial team, on this very successful journal, published by Routledge.

We seek two highly creative, motivated, organised and collegiate individuals with demonstrable specialisms in theatre, dance and/or performer training to join the rest of the TG team at this exciting moment in the journal’s growth. For the last nine years, we have been proud of the diversity of materials and innovation of writing forms offered within the pages of Training Grounds and with this set of appointments we hope to build on this track record, taking the spirit of the experimental backpages section into the journal’s main body. Continue reading →