Theatre Dance and Performance Training

Article	Citations
Tik Tok and generation Z	33
Without walls: performance art and pedagogy at the ‘Bauhaus of the North’	13
Sustaining dancer wellbeing through independent professional dance careers	7
Training theatre students of colour in the United States	5
Social (distance) dancing during covid with project trans(m)it	5
The psychological benefits of circus skills training (CST) in schoolchildren	5
Cut-Paste-Repeat? The maintenance of authoritarian pedagogies through tertiary dance education in China	4
Body. Breath. Text. Freedom: an investigation of concurrent training in Linklater voice and the Suzuki actor training method	3
An integrative methodology for circus training based on creativity and education on physical expression	3
A pedagogy for twenty-first century actor training: intracultural theatre practice which embraces pluralistic identity and plays with difference	3
Supporting the performance of Noongar language inHecate	3
Kitchen contemporary dance classes in times of COVID-19, Dance Objects (DO): Dancing the onion	2
Professional development for live artists: doing it yourself	2
A special relationship: a broad survey of Japanese performance training methodologies’ influence on Brisbane actor training since the 1990s	2
Impermeable bodies: Women who lion dance in Boston’s Chinatown	2
Monika Pagneux	2
Performance training as healing: reflecting on workshops leading to the Indigenous theatre process Native Performance Culture (NPC)	2
Reimagining dance and digital media training in an era of techno-neoliberalism: collective pedagogical models for digital media education in dance	2
Embodied exploratory processes in Australian performance training and international influences	2
Editorial	2
Voicing transformation within heightened forms: experiments in breath and imagery in the Suzuki method’s ‘Standing Statues’	1
UK dance graduates and preparation for freelance working: the contribution of artist-led collectives and dance agencies to the dance ecology	1
Decolonising theatre and ensemble training in Aotearoa/New Zealand: Te Rākau Hua o Te Wao Tapu Theatre	1
Cirqiniq: the decolonising of social circus in Nunavik	1
‘It shouldn’t be necessary, but it happens a lot’: Undergraduate contemporary dancers’ perceptions of pain, injury, and fatigue	1

The heuristic pedagogue: navigating myths and truths in pursuit of an equitable approach to voice training	1
If you want to kiss her, kiss her! Gender and queer time in modern Meisner training	1
The art of experiencing: reflective appreciative actor training towards well-being, artistry, and personal agency	1
The absence of the cool-down for actors following a theatre performance; the discussion is on-going but the gap remains	1
The Five Continents of Theatre: Facts and Legends about the Material Culture of the Actor	1
Actions speak louder than words. An investigation around the promises and the reality of representation in actor training	1
Decolonising dance pedagogy? Ruminations on contemporary dance training and teaching in South Africa set against the specters of colonisation and apartheid	1
Towards planetary performance pedagogy: digital companions in multipolar classrooms	1
The rogue less travelled: writing for performance at the National Institute of Dramatic Art	1
Training ecologies for the actor-creator and Gordon Craig’s School for the Art of the Theatre	1
Editorial	1
Journeying towards multitudinous bodies: working with body weather practices through the creation of Into the Mountain	1
Actor education, object animation and care	1
Embodying one’s teaching identity – Making the tacit explicit	1
Somatic work and independent training as an invisibly disabled performer	1
Between tradition and modernity: developments in Xiqu (Chinese opera) actor training	1
Body Weather bodies in the outback – Lake Mungo	1
Three stories (from performance art teaching and learning)	1
Drawing as part of a performance practice	1
Peter Hulton and arts archives – an appreciation	1
Against the “Lecoq canon”	1
Physical training online: transitioning towards digital pedagogies	1
Languaging a widened embodied repertoire	1
Not not doing therapy: performer training and the ‘third’ space	1
Interview with Adrian Lester: taekwondo and actor training	0
‘Critical Pathways’ – Training and Investigating the Art of Choreography-Making with Rosemary Butcher	0
The physical actor: contact improvisation from studio to stage, by Annie Loui	0
Editorial	0
HÍSW̱ḴE (SENĆOŦEN word used to express gratitude, to give thanks)	0
Mapping the terrain	0
Applied theatre training: theatre for Democracy and knowledge exchange	0
New platforms – for living, being and training	0
How do directors train?	0
Cross-cultural expression of Chinese ballet: Symbol, Identity, Context and Empathy	0
(hyper-) Linked: new ways of living, being and training	0
Getting into your head: social distancing and the intimacy of audio-only movement sessions on earpods	0
Give yourself permission	0
Training grounds for an enchanted kinship	0
Connections with the earth	0
Letting things rot	0
.Behind from Appears Noticing	0
Asymmetrical motion intensive workshop, held in Alas Artes en Movimiento, Barcelona, July 5th–9th 2021 led by Lucas Condró	0
Groundwork: place-based integrative actor training in a fluctuating world	0
Body awareness in acting – a case study of TRE as a supporting tool for drama students’ personal and professional development	0
Relational performance pedagogy: North American innovations in the lineages of Decroux and Grotowski	0
Filming process: questions and considerations	0
A postcard from the archives	0
Reviews	0
The Companionship Scores	0
Locator	0

Touch as a feedback loop: exercising the leap from inertia to activation	0
Undisciplined discipline: performer training for a new generation	0
The applicability of historical Japanese and Polish fencing to the development of acting competences	0
Our contact improvisation partners during lockdown for dancers in training	0
Twists, turns and a loose web of contradictory truths	0
International Conference: Rhythm in the body on stage: The Return Beat – Interfacing with our Interface	0
In touch and between: a tactile toolkit for creative practitioners to navigate touch within their creative practice	0
Approaching pedagogical arts research from within the studio	0
Rehearsing performative traditions: engaging with cultural practices in college devised theatre	0
Thin skin – new ways of living, being and training	0
What about director training? A story of 30 years – ‘back into the future’	0
Feeling voices – new ways of living, being and training	0
Performer’s dramaturgy: Developing dramaturgical thinking through choreological practice	0
Someone else’s rehearsal	0
Transformations across time and space	0
What can an accomplice accomplish? Thinking about casting, point of view, and anti-racism in director training	0
The interpersonal body: knowing another through the shared embodiment of ‘energetic contact’	0
‘And Suddenly…!’	0
Passion or profession: the training of theatre directors in South Africa	0
Jacques Copeau in tune with romanticism, hand in hand with Rousseau: from the myth of child’s innocence to the problems of actor’s consciousness	0
From the Ship of Fools (SoF)	0
‘Trust me, kid’: leadership style and how we train directors to talk to actors	0
‘The Gauntlet’; enacting social transformation through the facilitation of community in ensemble actor training	0
There is no such thing as an accident	0
Unrehearsed Futures - Season 2: a series of public conversations on possibility, plurality and planetarity in theatre pedagogy hosted by Drama School Mumbai	0
Pierre Bourdieu and actor training: towards decolonising and decentering actor training pedagogies	0
Curious methods – pedagogy through performance	0
Technology & Performer Training (Online) Hosted by University of South Wales May 18th, 2020	0
Pandemic as climate: new ways of living, being and training	0
Black dance and technologies of wellness	0
Training and … buildings	0
Editorial	0
Ship of fools	0
Training and… masks	0
The Little Acorns – it was a touch and go experience	0
The Life of Training	0
‘Let go lightly’: the absent presence of taijiquan in the artistic practice of ROSA and ATIS	0
Joy is the way	0
Flipping the creative conservatoire classroom	0
Training to be me	0
Voice (as and in) touch	0
Aikido in Kokyu Studio’s practice	0
Director’s fear and self-cultivation	0
Training and … buildings	0
Strategies for Neurodiversity and Dyslexia in Actor Training: Sensing Shakespeare, by Petronilla Whitfield	0
Correction	0
Post card from an insider artist	0
Training Historical European Martial Arts	0
Social circus in aerials: Female experience, muscularity, pain and trust	0
Diálogo Escénico	0
‘I’ve been as intimate with him as I have been with anybody’: queer approaches, encounters and exchanges as live art performer training	0
New ways of living, being and training: learning how to be with love	0
Turtlenecks and a bad attitude: student drama as director training	0
(Re)discovering the Self through an ‘Other’: reflections on the spiritual education of the actor in the remnants of Yugoslavia	0
A view from the archive: the work of Gertrud Falke-Heller and Elsa Gindler	0
The Corridors exercise: a Michael Chekhov-based approach to discovering, experiencing, and embodying Given Circumstances and character biography	0
Ali Hodge – 1959–2019. A luminous presence: directer, trainer, educator, author, coach, friend	0
Beauty, vulnerability, obstination, refusal	0
The Unclean, ‘touching and training’ in puppetry from Japanese otome bunraku	0
Is the readiness all? Revisiting martial arts in actor training	0
Standing	0
Waiting is a limitation	0
Cultivating vessel and voice: embodiment as a way of being in performer training	0
Seeking authenticity in a professional world: personal narratives on collaborating with amateurs in contemporary Chinese choreographic practices	0
Dear ship of fools	0
Walk of Life Training in Non-stylised and Environmental Movement	0
The dance artistry of Diane Alison-Mitchell and Paradigmz: Accounting for professional practice between 1993 and 2003	0
Nancy Stark Smith February 11, 1952 – May 1, 2020. Dancer, Teacher, Writer, Curator, Editor, Phenomenon	0
Editorial	0
Holding the edge: between embodied trauma and choreographic learning	0
Postcard to a friend	0
A repertoire of touch in participatory choreography	0
Postcards from the unreal engine	0
Editorial	0
Tactile renegotiations in actor training: what the pandemic taught us about touch	0
Training and the virtual: body network	0
Reconsidering Stanislavski and Barba in the light of neuroscience: a comparative study of organic acting	0
Correction	0
Queer performance in times of the pandemic: movement, identity, and hope in heart2heart and The Ladder Project	0
Joan Littlewood and Ariane Mnouchkine against the canon: developing the actors’ social representations through clowning	0

The Cherbourg Walk	0
Actor training underwater in the future	0
Personal development as director training: a dramatic dialogue	0
From the sandy beaches of Crab Creek to the Tarkett of WAAPA: a case study of intrinsic praxis in teaching methods of movement	0
Reiterated empathy in BA director training	0
Moving Matter: A methodology for material-led collaborations	0
Editorial	0
Director training and education: models from Brazil and the UK	0
Opening pathways to training for young disabled dancers: an action research approach	0
Training for live art: process pedagogies and New Moves International’s Winter Schools	0
WAC	0
The listening actor: intersections between the musicality of Meisner Technique and ear training in Dalcroze Eurhythmics	0
Independent beats to global feet: the evolution of English tap jams	0
…Ship of fools	0
Martial arts training during the pandemic and beyond: towards practices of virtuality	0
Greetings to the living	0
Acknowledgement of Country	0
Relational Dynamics: the use of coaching techniques in participative performance	0
Practice, practice, practice	0
Rhythm in Acting and Performance	0
Michael Chekhov's acting technique: a practitioner’s guide	0
Seeking complicité, the pleasure to play and a clown state as an integral part of actor training in the work of Kristine Landon-Smith and Fabio Motta	0
Action, sensory stimulation and narrative imagination: applying Odin Teatret’s training in the management of the recovery process of post-stroke patients	0
What a touchy subject! Discussions, reflections and thoughts about touch on the UEL BA (Hons) Dance: Urban Practice course	0
Graeae	0
Leaving the cave	0
Charging	0
…Ship of fools	0
Training and … buildings	0
Encounters at the edge of the woods: relational repair from within ‘irreconcilable space’	0
Humanity and animality in Chinese martial arts	0
Training for resilience	0
The locus of control in higher education, a case study from performer training	0
Reenacting pedagogies of socialism: auto-analysis of a critical practice	0
“Until I know this sure uncertainty”: actor training and original practices	0
Laughing jesters of Tibet: the embodiment of joy	0
The physical actor: contact improvisation from studio to stage, by Annie Loui	0
Rehearsing reality: an acrostic for training interactive theatre	0
The canon and the contemporary: change, challenge, conceit	0
Somatic attunement/self-cultivation: Japanese immigration and the performing arts	0
‘The ship of fools’: a critical laboratory	0
Training and… masks	0
Moving towards a liberatory pedagogy: Mattering language in Niamh Dowling’s practice	0
Unrehearsed Futures: A series of public conversations on theatre pedagogy hosted by Drama School Mumbai	0
Performance ‘Training’ in the Dirt: facilitating belonging in a regional community musical theatre event	0
What saying ‘yes’ affirms – we feel; we move; we do	0
After the empty space: from traditional settings to new creative ecologies	0
It only takes a spark…	0
Leaving the script behind	0
Modern movements: women’s contributions to the success of Rudolf Laban’s ideas and practice in England 1930–1941	0
Beyond the Stomp: The Inaugural NSP Symposium at Charles Sturt University Wagga Wagga, 15 to 18 April 2019, convened by Robert Lewis and Jeremy Neideck	0
To (take a) Stand	0
Access for autistic student-actors: interrogating the role of empathy within actor-training methods	0
Outside the mainstream: ballet teaching at the margins	0
Editorial	0
The spark and the journey	0
Michael Chekhov and Sanford Meisner: Collisions and Convergence in Actor Training	0
Consent-based actor training as the only way forward	0
Linguistic bodies: cognitive science and Stanislavsky’s last words	0
Finding identity through directing, by Soseh Yekanians	0
Affective topologies and virtual tactile experiences in theatre training	0
Stages of reckoning: antiracist and decolonial actor training Stages of reckoning: antiracist and decolonial actor training edited by A. M.	0
Actor training in anglophone countries: past, present and future, by Peter Zazzali	0
Actor without a theatre (new ways of living, being and training)	0
‘And all the men and women merely players’: theatre training in VR	0
Editorial	0
The microphone is always hot	0
That, there, then…Now	0
Musicality and transformative mise-en-scène: Ten principles for teaching theatre directing as composition	0
Director training: a mine field or brave new world?	0
Language	0
Message in a bottle?	0
Moving in a different direction (directing down under): the evolution of director training into studies of ‘creative leadership’ in an Australian context	0
Touch and consent: towards an ethics of care in intimate performance	0
Spatial projection: extended perception for theatre creators through the practice of Chinese martial arts	0
…Ship of fools	0
Editorial	0
Editorial: dedicated to the memory of Alison Hodge (1959–2019)	0
Something in the atmosphere? Michael Chekhov, Deirdre Hurst Du Prey, and a web of practices between acting and dance	0
Beyond the stomp: the Nobbs Suzuki Praxis as an Australian variant of the Suzuki Method of Actor Training	0
Editorial	0
Embodying unpredictability	0
A place of practice – a report from Kokyu Studio	0
From the centre to the periphery	0
How to do a plié and not get bored	0
Exploring Rudolf Laban’s flow effort: new parameters of touch	0
It’s a question of love	0
Accessing Psychophysical Identities through Russian Martial Arts in actor training	0
Tracing the impacts of informal dance training: a case study of falling on your feet, a programme for dancers over 65	0
Y Space: grounded in flight – training for the air	0
‘Shoulder to Shoulder: Sweat and Joy’ – training with Gravity and Other Myths	0
Touch in tableau: a powerful moment to break the wall	0
The Australian accent and actor training: the current state of play	0
Archiving the healing touch	0
Broad churches	0