Theatre Dance and Performance Training

Article	Citations
Training and … buildings	6
Glimmers	4
Somatic work and independent training as an invisibly disabled performer	4
A special relationship: a broad survey of Japanese performance training methodologies’ influence on Brisbane actor training since the 1990s	4
Editorial	3
Our contact improvisation partners during lockdown for dancers in training	3
Aikido in Kokyu Studio’s practice	3
‘Shoulder to Shoulder: Sweat and Joy’ – training with Gravity and Other Myths	3
What can an accomplice accomplish? Thinking about casting, point of view, and anti-racism in director training	3
Training and the virtual: body network	2
Someone else’s rehearsal	2
Green training: dancing under cherry blossom	2
How do directors train?	1
Pandemic as climate: new ways of living, being and training	1
Mental health & the acting studio	1
Constructing codes of behaviour: the ‘doxic agreement’ as a force for agency in contemporary dance technique training	1
Laughing jesters of Tibet: the embodiment of joy	1
From the centre to the periphery	1
Access for autistic student-actors: interrogating the role of empathy within actor-training methods	1
Training and … buildings	1
Rehearsing reality: an acrostic for training interactive theatre	1
Director training: a mine field or brave new world?	1
Passion or profession: the training of theatre directors in South Africa	1
After the empty space: from traditional settings to new creative ecologies	1
The applicability of historical Japanese and Polish fencing to the development of acting competences	1

Tactile renegotiations in actor training: what the pandemic taught us about touch	1
Training and … buildings	1
…Ship of fools	1
Finding agency in the imagined body through Unreal Engine’s Live Link performance capture	1
Editorial	1
Editorial	1
Towards a trauma informed pedagogy in actor training: knowledge and agency	1
Navigating the language of performance through mind and body: an interview with Nimmy Raphel	1
‘And Suddenly…!’	1
Cross-cultural expression of Chinese ballet: Symbol, Identity, Context and Empathy	1
Connections with the earth	1
Green utopias: a possible green ground for performing arts training	0
Greetings to the living	0
Director training and education: models from Brazil and the UK	0
Editorial	0
Editorial	0
Turtlenecks and a bad attitude: student drama as director training	0
Walks in the continuous field	0
Facing the ‘Bruno’: how talking about stage fright eases the isolation, not the anxiety	0
Rehearsing performative traditions: engaging with cultural practices in college devised theatre	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
Agentive green mobility: everyday performance training for women on wheels	0
The rogue less travelled: writing for performance at the National Institute of Dramatic Art	0
Touch in tableau: a powerful moment to break the wall	0
Embodied learning with metaphors and Rich Picture-like diagrams in actor training: an articulated, playful approach to teaching and practice-led research	0
Dance matters: dancing in Tunisia	0
Actor without a theatre (new ways of living, being and training)	0
Performingwhiledocumenting or how to enhance thenarrative agencyof a camera	0
The art of experiencing: reflective appreciative actor training towards well-being, artistry, and personal agency	0
Embedding ecoscenography into performance design pedagogy: three practice-based approaches	0
Judo as a devising practice: Yves Klein, La Mancha and Chile	0
Reiterated empathy in BA director training	0
Theatre in museums: ‘touch it without a touch’	0
PLANT NATION – choreographic score by plants and humans	0
Personal development as director training: a dramatic dialogue	0
New platforms – for living, being and training	0
An integrative methodology for circus training based on creativity and education on physical expression	0
Training and the virtual: the second Mouth cyborg	0
From schema to rhuthmos: the idiorrhythmic encounters of the bridge of winds	0
Material encounters: the art of noticing	0
Joan Littlewood and Ariane Mnouchkine against the canon: developing the actors’ social representations through clowning	0
What is one exercise that you always return to? And why?	0
Exploring Rudolf Laban’s flow effort: new parameters of touch	0
A model of Buddhist-Somatic practice in Thai performer training	0
The physical actor: contact improvisation from studio to stage, by Annie Loui	0
Cultivating vessel and voice: embodiment as a way of being in performer training	0
Queer performance in times of the pandemic: movement, identity, and hope in heart2heart and The Ladder Project	0
Editorial	0
Postcard to a friend	0
The Road Not Taken: the importance of creative and experimental methods in training new acting students	0

Evoking feeling through the moving body	0
Actor training in anglophone countries: past, present and future, by Peter Zazzali	0
Performing landscape as a practice of the awakened heart*	0
An actor and a monk: discovering and navigating impulses	0
Sculpting a story: guiding felt experiences in pedagogical space through iteration	0
Accessing Psychophysical Identities through Russian Martial Arts in actor training	0
Diálogo Escénico	0
New ways of living, being and training: learning how to be with love	0
A postcard from the archives	0
Harmonising neurodiversity in musical theatre training: a teacher-student dialogue	0
‘The ship of fools’: a critical laboratory	0
The interpersonal body: knowing another through the shared embodiment of ‘energetic contact’	0
Unrehearsed Futures - Season 2: a series of public conversations on possibility, plurality and planetarity in theatre pedagogy hosted by Drama School Mumbai	0
‘Let go lightly’: the absent presence of taijiquan in the artistic practice of ROSA and ATIS	0
Access and imagination	0
Training and … buildings	0
Putting the Theatre Green Book into practice: sustainability, pedagogy and the conservatoire	0
Skills shared	0
Pushing the boundaries: How the actor training practices of Monika Pagneux and Philippe Gaulier may engender experiences of agency and empowerment in older theatre-makers	0
It’s a question of love	0
Social circus in aerials: Female experience, muscularity, pain and trust	0
Feeling voices – new ways of living, being and training	0
What about director training? A story of 30 years – ‘back into the future’	0
Leaving the script behind	0
Action, sensory stimulation and narrative imagination: applying Odin Teatret’s training in the management of the recovery process of post-stroke patients	0
Editorial	0
Skills for the edge of extinction	0
‘It shouldn’t be necessary, but it happens a lot’: Undergraduate contemporary dancers’ perceptions of pain, injury, and fatigue	0
Fun with Sticks	0
‘Trust me, kid’: leadership style and how we train directors to talk to actors	0
Training and … buildings	0
Touch as a feedback loop: exercising the leap from inertia to activation	0
Actor education, object animation and care	0
How to do a plié and not get bored	0
Language	0
Rhythm in Acting and Performance	0
Between tradition and modernity: developments in Xiqu (Chinese opera) actor training	0
Musicality and transformative mise-en-scène: Ten principles for teaching theatre directing as composition	0
Thin skin – new ways of living, being and training	0
Performer’s dramaturgy: Developing dramaturgical thinking through choreological practice	0
Not not doing therapy: performer training and the ‘third’ space	0
What a touchy subject! Discussions, reflections and thoughts about touch on the UEL BA (Hons) Dance: Urban Practice course	0
From the Ship of Fools (SoF)	0
The locus of control in higher education, a case study from performer training	0
Interview with Padma Shri S. R. D. Prasad: On the Martial Art Form of Kalarippayattu	0
Filming process: questions and considerations	0
Supporting the performance of Noongar language inHecate	0
Michael Chekhov's acting technique: a practitioner’s guide	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
UK dance graduates and preparation for freelance working: the contribution of artist-led collectives and dance agencies to the dance ecology	0
The Unclean, ‘touching and training’ in puppetry from Japanese otome bunraku	0
Warming up our hearts	0
Monika Pagneux (1927–2023): a kind of obituary	0
Relational Dynamics: the use of coaching techniques in participative performance	0
To unfold the wings	0
Is this a stethoscope I see before me? Extratheatrical employment as enhancement to actor training	0
Cirqiniq: the decolonising of social circus in Nunavik	0
Are you scared of me? – The power of demeanour in teaching actors	0
Green Training where are you?	0
Editorial	0
A repertoire of touch in participatory choreography	0
‘As discreet and essential as a heartbeat’ 1	0
Concrete experience: Parkour as a culture of agential learning	0
In/tension: Striving for balance between agency and discipline in Training	0
Touch and consent: towards an ethics of care in intimate performance	0
One exercise I always return to: crossing the threshold	0
Degrowth pedagogies: a manifesto for Earth-centred theatre training	0
One exercise I always return to: the dactyl and the gruppirovka	0
What saying ‘yes’ affirms – we feel; we move; we do	0
Training for resilience	0
The ‘feltness’ of circus training: practitioner reflections on hypermobility, anxiety and neurodivergence	0
Seeking authenticity in a professional world: personal narratives on collaborating with amateurs in contemporary Chinese choreographic practices	0
The listening actor: intersections between the musicality of Meisner Technique and ear training in Dalcroze Eurhythmics	0
The microphone is always hot	0
Finding identity through directing, by Soseh Yekanians	0
…Ship of fools	0
The digital studio	0
Interview with Adrian Lester: taekwondo and actor training	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
‘Training and access’	0

Independent beats to global feet: the evolution of English tap jams	0
The pan-animate nature of performance and well-being	0
Linguistic bodies: cognitive science and Stanislavsky’s last words	0
Embodiment, hybridity, and habit: the stick as an actor training tool	0
International Platform for Performer Training (IPPT)	0
Postcards from the unreal engine	0
Transformations across time and space	0
Beauty, vulnerability, obstination, refusal	0
Dance education using digital technologies: enhancing effectiveness by facilitating student–teacher feedback	0
Towards probody artmaking: from rehabilitation, prehabilitation to prohabilitation 1	0
‘Yes, and’ and ‘No, although’: Inviting dissent and difference towards agency as part of multi-representative practice in actor training	0
‘Stanislavsky and mindfulness, a one-day symposium’ hosted at London South Bank University on April 20 th , 2023, in partnership with the S word	0
Black dance and technologies of wellness	0
Moving Matter: A methodology for material-led collaborations	0
International Conference: Rhythm in the body on stage: The Return Beat – Interfacing with our Interface	0
Director’s fear and self-cultivation	0
Consent-based actor training as the only way forward	0
Approaching pedagogical arts research from within the studio	0
The S-Word Conference: Stand in Place/Stanislavski & Place	0
Mapping the terrain	0
Architectures of access	0
Dancing with Eternity in Zizhuyuan’s Embrace	0
The Nomadic Studio – dream-weaving a proposal for performer training	0
Acknowledgement of Country	0
Chat up	0
Training Historical European Martial Arts	0
Negotiating two ropes and a bar: performance training for aerial dance duets	0
Editorial	0
‘Northern lights’, the Welfare State Winter School, in Ulverston, February 1991	0
Body Weather bodies in the outback – Lake Mungo	0
Editorial	0
Editorial	0
Pierre Bourdieu and actor training: towards decolonising and decentering actor training pedagogies	0
HÍSW̱ḴE (SENĆOŦEN word used to express gratitude, to give thanks)	0
What takes your breath away? Notes towards somatic training in times of ecological crises	0
Desmond Jones (1937–2024)	0
Positivity	0
The Cherbourg Walk	0
Digital HotSpot: virtual agencies in online performer training	0
What is river?	0
Notes on contributors	0
Actions speak louder than words. An investigation around the promises and the reality of representation in actor training	0
Moving in a different direction (directing down under): the evolution of director training into studies of ‘creative leadership’ in an Australian context	0
Gifting together and gifting back: a pluriphony of postcards	0
Somatic Wisdom	0
Reconsidering Stanislavski and Barba in the light of neuroscience: a comparative study of organic acting	0
Betty Williams and the new Australian voice	0
Training and … buildings	0
Developing an ecological consciousness through 360° immersive dance-making	0
…Ship of fools	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
Stages of reckoning: antiracist and decolonial actor training Stages of reckoning: antiracist and decolonial actor training edited by A. M.	0
A place of practice – a report from Kokyu Studio	0
Approaching actor training in nature	0
Traditional oral training in the transmission of Cantonese Opera	0
Tracing the impacts of informal dance training: a case study of falling on your feet, a programme for dancers over 65	0
Voicing transformation within heightened forms: experiments in breath and imagery in the Suzuki method’s ‘Standing Statues’	0
Actor training underwater in the future	0
Ship of fools	0
Correction	0
Is the readiness all? Revisiting martial arts in actor training	0
The absence of the cool-down for actors following a theatre performance; the discussion is on-going but the gap remains	0
Neuronormativity, naturalism and the neurotypical gaze: the equating of neurotypicality and quality in actor training	0
Amateur actor training in Israeli community-based theatre	0
Martial arts training during the pandemic and beyond: towards practices of virtuality	0
The legacy of the Nanjing Project: training Australian circus bodies	0
Humanity and animality in Chinese martial arts	0
One exercise I always return to… integrative physiovocal patterns	0
Reimagining dance and digital media training in an era of techno-neoliberalism: collective pedagogical models for digital media education in dance	0
Sustainability in technical theatre pedagogy and practice	0
Performance ‘Training’ in the Dirt: facilitating belonging in a regional community musical theatre event	0
Spatial projection: extended perception for theatre creators through the practice of Chinese martial arts	0
Applied theatre training: theatre for Democracy and knowledge exchange	0
Practice, practice, practice	0
Feelings of periodised dance training	0
An Introduction to the Pedagogy of Georgian Director, Mikheil Tumanishvili	0
太极推手: Taiji Pushing Hands	0
Maintaining the consent-bubble: an intimacy coordinator’s perspective on touch in performance training	0
Leaving the cave	0
Voice (as and in) touch	0
Training grounds for an enchanted kinship	0
Languaging a widened embodied repertoire	0
Mastering Angika Abhinaya : somatic actor training with Seraikella Chhau	0
Habits of creativity: agency and children’s drama practice in imaginary play and elective classes	0
Ship of fools	0
The Australian accent and actor training: the current state of play	0
‘Call Me by My Name’: inclusive actor training for second language users	0
Message in a bottle?	0
Embodied ecological awareness and the pedagogy of Jacques Lecoq	0
Y Space: grounded in flight – training for the air	0
Editorial	0
In touch and between: a tactile toolkit for creative practitioners to navigate touch within their creative practice	0
Editorial	0
(hyper-) Linked: new ways of living, being and training	0
A collective form of art: an interview with Yana Ross	0