Published in Theatre, Dance and Performance Training (Vol. 15, No. 3, 2024)

Published in Theatre, Dance and Performance Training (Vol. 15, No. 3, 2024)

Published in Theatre, Dance and Performance Training (Vol. 15, No. 3, 2024)

Published in Theatre, Dance and Performance Training (Vol. 15, No. 3, 2024)

In July of 2022 following a public call for participation, a collective of South West undergraduate and graduate performance artists came together in order to participate in a residential summer sc...

Ecoscenography – a framework that reconfigures traditional processes and conceptualisations of designing for performance – offers a unique approach to bringing sustainability into theatre education...

Like all industries, theatre must face the challenge of transitioning to a sustainable future, and in 2021 the Theatre Green Book was created to support that transition. It is now being used widely...

A Tunisian youth movement, Dancers Citizens South (DCS), founded on 31 May 2015, encourages young people to find agency in their communities by creating in music, dance, or theater. DCS invited an ...

This article focuses on a digital contemporary dance practice recently developed and authored as part of the artist-researcher’s own auto-hermeneutic practice-based PhD study. It is through artisti...

Published in Theatre, Dance and Performance Training (Vol. 15, No. 2, 2024)

Metaphors and diagrams are underutilised in actor training, both for teaching and practice-led research, creating a gap in the literature. Combining practice-led research and phenomenology as a met...

Published in Theatre, Dance and Performance Training (Vol. 15, No. 2, 2024)

Published in Theatre, Dance and Performance Training (Vol. 15, No. 2, 2024)

In March 2023, third-year Technical Theatre (Production and Design) students at the University of Salford produced a festival of environmentally engaged design-led performance pieces focused on the...

Published in Theatre, Dance and Performance Training (Vol. 15, No. 2, 2024)

Published in Theatre, Dance and Performance Training (Vol. 15, No. 2, 2024)

Published in Theatre, Dance and Performance Training (Vol. 15, No. 2, 2024)

I am proposing a manifesto for degrowth pedagogies. Designed for Higher Education institutions and theatre pedagogues, I argue the need to develop a system of theatre training based on degrowth the...

If performance training is to retain its relevance for community performers, it will need to foster not only practices of social care but also of bodily care. Responding to my long-term work with c...

This article explores Jacques Lecoq’s movement-based approach to actor training through an ecological lens and its potential impact in fostering embodied eco-consciousness. Reflecting on my experie...

The field of performer training remains closely entwined with the authorial vision of twentieth Century practitioners. Performers in the context of theatre and dance are still trained to embody spe...

Published in Theatre, Dance and Performance Training (Vol. 15, No. 2, 2024)

We are in a new landscape in performer training in the UK in 2024. Student and staff well-being has been seriously impacted by five years of covid-related and socio-political tension. This context ...

Move into Life with Sandra Reeve, based in West Dorset, UK is a foundation programme in embodiment and teaches the art of being in movement. Addressing the relevance of performance training at the ...

Utilising Pierre Bourdieu’s (1977) concept of ‘doxa’, this article proposes the notion of a ‘doxic agreement’, exploring its relationship with agency in the context of contemporary dance technique ...

The Bridge of Winds is an international research group founded in 1989 by Odin Teatret actress Iben Nagel Rasmussen. For thirty-three years, a core group of artists from 12 countries has met togeth...

Children engage in embodied, imaginative performance in two fundamental ways: universally in socio-dramatic imaginary play and selectively in elective performing arts classes, which, for most child...

Published in Theatre, Dance and Performance Training (Vol. 15, No. 2, 2024)

This article examines the role of actor training, based on the practices of Monika Pagneux and Philippe Gaulier, in the development of older people’s creativity, empowerment and agency, against a b...

Published in Theatre, Dance and Performance Training (Vol. 15, No. 2, 2024)

How might ‘agency’ be practiced in the meeting of performer and text? What are the ethical concerns of how these two materials might merge? The analysis draws on the author’s research at the Norweg...

Published in Theatre, Dance and Performance Training (Vol. 15, No. 2, 2024)

Published in Theatre, Dance and Performance Training (Vol. 15, No. 2, 2024)

Among efforts to decolonise and decenter the actor training studio, practitioners and scholars consider the barriers for students who speak English as a Second Language (ESL) and undertake text-bas...

UK based actor trainings often emphasise the acceptance of offers from others, ensconced in the common facilitation of ‘yes, and’. Additionally, there is frequently an assumption that trainings wil...

Published in Theatre, Dance and Performance Training (Vol. 15, No. 2, 2024)

This research project explores a possible performer training model of Buddhist-Somatic as a training method and approach to performance making. Using Thai Theravada Buddhist philosophy and its prac...

This article argues that the COVID-19 pandemic engendered a sort of global, yet unequal, liminal phenomenon. Further, ritual and performance may occur as responses to such liminal crises and act as...

Published in Theatre, Dance and Performance Training (Vol. 15, No. 1, 2024)