Theatre Dance and Performance Training

Article	Citations
Glimmers	7
Training the breath	5
Freeing the Natural Voice	4
Training and tradition: generations	4
A crime in vulgar eyes: the anti-racist pedagogy of Sarah Bernhardt	4
Editorial	3
Our contact improvisation partners during lockdown for dancers in training	3
Aikido in Kokyu Studio’s practice	3
Passion or profession: the training of theatre directors in South Africa	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
Green training: dancing under cherry blossom	2
Mental health & the acting studio	2
Center of gravity access in the Suzuki method and speculative health benefits	2
Finding agency in the imagined body through Unreal Engine’s Live Link performance capture	1
Tactile renegotiations in actor training: what the pandemic taught us about touch	1
‘Let us lie there under the blue sky’ considering rest within academic training as creative prompt	1
Director’s fear and self-cultivation	1
Co-creating the future: re-imagining ballet training	1
Are you scared of me? – The power of demeanour in teaching actors	1
Hypermobility and actor-movement training: the risks of stretching	1
Theatre in museums: ‘touch it without a touch’	1
After the empty space: from traditional settings to new creative ecologies	1
Towards a trauma informed pedagogy in actor training: knowledge and agency	1
Editorial	1

SWEAT Hong Kong International Dance Workshop Festival 2025: Cultural Sequences – Asia Pacific Choreographic Discovery, 18–22 June 2025, the Hong Kong Academy for Performing Arts (HKAPA), Hong Kong, Ch	1
Navigating the language of performance through mind and body: an interview with Nimmy Raphel	1
Embodied pedagogy and expressive pathways for middle-aged women in China community theatre	1
Editorial	1
Editorial	1
Body combat: fighting with my body	1
Digital HotSpot: virtual agencies in online performer training	1
Cross-cultural expression of Chinese ballet: Symbol, Identity, Context and Empathy	1
Directing-as-training: embodied actor pedagogies in Nigerian theatre	1
Someone else’s rehearsal	1
Pandemic as climate: new ways of living, being and training	1
Access for autistic student-actors: interrogating the role of empathy within actor-training methods	1
Access and imagination	1
How do listeners perceive emotional genuineness in musical theatre performers, and how might this help to inform the pedagogy of acting through song?	1
What about director training? A story of 30 years – ‘back into the future’	1
Dance education using digital technologies: enhancing effectiveness by facilitating student–teacher feedback	1
Agentive green mobility: everyday performance training for women on wheels	1
Constructing codes of behaviour: the ‘doxic agreement’ as a force for agency in contemporary dance technique training	1
Performingwhiledocumenting or how to enhance thenarrative agencyof a camera	1
‘And Suddenly…!’	1
The applicability of historical Japanese and Polish fencing to the development of acting competences	1
How do directors train?	1
Director training: a mine field or brave new world?	1
Correction	0
Beyond the stomp: the Nobbs Suzuki Praxis as an Australian variant of the Suzuki Method of Actor Training	0
Approaching actor training in nature	0
‘Let go lightly’: the absent presence of taijiquan in the artistic practice of ROSA and ATIS	0
In touch and between: a tactile toolkit for creative practitioners to navigate touch within their creative practice	0
Director training and education: models from Brazil and the UK	0
Language	0
Anti-racism in practice: an interdisciplinary roundtable	0
How theatres in the East Midlands are achieving impactful green training in the community	0
Essai: a bad day in clown school: reclaiming play for performers of colour in bouffon practice	0
Training for movement, physical activity and health	0
The use of Body-Mind Centering ® to support training in Michael Chekhov’s acting technique	0
One exercise I always return to: the dactyl and the gruppirovka	0
Towards probody artmaking: from rehabilitation, prehabilitation to prohabilitation 1	0
Dance matters: dancing in Tunisia	0
To unfold the wings	0
Degrowth pedagogies: a manifesto for Earth-centred theatre training	0
Sanctuary on the fault line: environmental dance practice as liminal critique and refuge	0
Walks in the continuous field	0
Thin skin – new ways of living, being and training	0
What is river?	0
Stanislavsky and Neurodiversity Symposium, presented by The S Word, by Ethan Graham Roeder	0
Ballet as life-long learning	0
Training and…tradition(s): the mask of the Magician	0
No more ‘likes’: feedback as anti-oppressive artistic practice	0
The interpersonal body: knowing another through the shared embodiment of ‘energetic contact’	0
Stages of reckoning: antiracist and decolonial actor training Stages of reckoning: antiracist and decolonial actor training edited by A. M.	0

‘Trust me, kid’: leadership style and how we train directors to talk to actors	0
Relational Dynamics: the use of coaching techniques in participative performance	0
(hyper-) Linked: new ways of living, being and training	0
Harmonising neurodiversity in musical theatre training: a teacher-student dialogue	0
An Introduction to the Pedagogy of Georgian Director, Mikheil Tumanishvili	0
Actions speak louder than words. An investigation around the promises and the reality of representation in actor training	0
PLANT NATION – choreographic score by plants and humans	0
Skills shared	0
Editorial	0
Voice (as and in) touch	0
Hope, in the bleak mid-winter	0
Linguistic bodies: cognitive science and Stanislavsky’s last words	0
From schema to rhuthmos: the idiorrhythmic encounters of the bridge of winds	0
International Platform for Performer Training (IPPT)	0
Notes on training community dance professionals	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
Maurice Maeterlinck’s ‘The Tragic in Daily Life’: a video essay	0
Lonely me, lonely you: dancing towards post-pandemic social reintegration	0
Neuronormativity, naturalism and the neurotypical gaze: the equating of neurotypicality and quality in actor training	0
Feelings of periodised dance training	0
Moving Matter: A methodology for material-led collaborations	0
Training and the virtual: the second Mouth cyborg	0
Spaces of agency: exploring text-bodyworld hybrids	0
Sustainability in technical theatre pedagogy and practice	0
Judo as a devising practice: Yves Klein, La Mancha and Chile	0
Improvisation, creativity, and research-based education in the performing arts (IMPACT)	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
Accessing, playing and narrating culture(s) in African and European performance training	0
Affective topologies and virtual tactile experiences in theatre training	0
From circuit to body: reconfiguring performer training in interactive sustainable theatre	0
Loose and not loose	0
Positivity	0
An actor and a monk: discovering and navigating impulses	0
Editorial	0
One exercise I always return to: games with names	0
Accessing Psychophysical Identities through Russian Martial Arts in actor training	0
Unveiling the Life of Trish Arnold: A Review of Lizzie Ballinger’s Biography	0
Queer performance in times of the pandemic: movement, identity, and hope in heart2heart and The Ladder Project	0
The ‘feltness’ of circus training: practitioner reflections on hypermobility, anxiety and neurodivergence	0
Actor without a theatre (new ways of living, being and training)	0
Material encounters: the art of noticing	0
Feeling voices – new ways of living, being and training	0
The listening actor: intersections between the musicality of Meisner Technique and ear training in Dalcroze Eurhythmics	0
Archiving the healing touch	0
A repertoire of touch in participatory choreography	0
Touch as a feedback loop: exercising the leap from inertia to activation	0
Training Historical European Martial Arts	0
There is no such thing as an accident	0
太极推手: Taiji Pushing Hands	0
Building a culture of collaboration with rules, norms, and community agreements	0
Interview with Padma Shri S. R. D. Prasad: On the Martial Art Form of Kalarippayattu	0
Notes on contributors	0
Mind over matter	0
16.4 Editorial	0
Democratising learning spaces: challenging hierarchical power	0
What takes your breath away? Notes towards somatic training in times of ecological crises	0
New platforms – for living, being and training	0
The microphone is always hot	0
Fun with Sticks	0
Postcards from the unreal engine	0
Unrehearsed Futures - Season 2: a series of public conversations on possibility, plurality and planetarity in theatre pedagogy hosted by Drama School Mumbai	0
Leaving the script behind	0
Touch in tableau: a powerful moment to break the wall	0
One exercise I always return to: crossing the threshold	0
An introduction to extracts from Rudolf Laban’s Dance and Gymnastics	0
Green utopias: a possible green ground for performing arts training	0
What is one exercise that you always return to? And why?	0
Ecological training for ecological healing: performer’s training in Heisnam Kanhailal’s Theatre of the Earth	0
The Nomadic Studio – dream-weaving a proposal for performer training	0
Reconsidering Stanislavski and Barba in the light of neuroscience: a comparative study of organic acting	0
International platform for performer training (IPPT)	0
Theatre for Sentient Beings: a performative practice of apprenticing gestures and transformation with the southwestern American desert high plateaux	0
‘Yes, and’ and ‘No, although’: Inviting dissent and difference towards agency as part of multi-representative practice in actor training	0
Editorial	0
Questioning invitational rhetoric in theatre and training practices	0
What a touchy subject! Discussions, reflections and thoughts about touch on the UEL BA (Hons) Dance: Urban Practice course	0
A place of practice – a report from Kokyu Studio	0
Sculpting a story: guiding felt experiences in pedagogical space through iteration	0
Habits of creativity: agency and children’s drama practice in imaginary play and elective classes	0
Evoking feeling through the moving body	0

Traditional oral training in the transmission of Cantonese Opera	0
Moving with care: a critical/historical review of the practice of movement training for theatre in relation to physical education and care for the self	0
‘It shouldn’t be necessary, but it happens a lot’: Undergraduate contemporary dancers’ perceptions of pain, injury, and fatigue	0
A collective form of art: an interview with Yana Ross	0
Postcard	0
Is the readiness all? Revisiting martial arts in actor training	0
A vernacular mimesis?	0
The Road Not Taken: the importance of creative and experimental methods in training new acting students	0
Architectures of access	0
Filming process: questions and considerations	0
Questioning feeling and feeling through questioning	0
Negotiating two ropes and a bar: performance training for aerial dance duets	0
Editorial	0
The locus of control in higher education, a case study from performer training	0
Mobilizing anti-racist thought and action through the arts in higher education	0
Practice Progress: embodied ‘anti-racisting’ for race-based affinity groups	0
Give yourself permission	0
Evolving landscapes of performer training in the twenty-first century	0
Postcard: training and… tradition	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
Actor training underwater in the future	0
The Unclean, ‘touching and training’ in puppetry from Japanese otome bunraku	0
‘Flow’ – our time in motion	0
Applied theatre training: theatre for Democracy and knowledge exchange	0
The digital studio	0
Skills for the edge of extinction	0
Developing an ecological consciousness through 360° immersive dance-making	0
Extended Postcard: an exercise in feeling	0
International Conference: Rhythm in the body on stage: The Return Beat – Interfacing with our Interface	0
Touch and consent: towards an ethics of care in intimate performance	0
Exploring Rudolf Laban’s flow effort: new parameters of touch	0
Actor training in anglophone countries: past, present and future, by Peter Zazzali	0
Return to northeast China: echoes of family history with handkerchiefs	0
Musicality and transformative mise-en-scène: Ten principles for teaching theatre directing as composition	0
Embedding ecoscenography into performance design pedagogy: three practice-based approaches	0
The Little Acorns – it was a touch and go experience	0
A model of Buddhist-Somatic practice in Thai performer training	0
Consent-based actor training as the only way forward	0
One exercise I always return to… integrative physiovocal patterns	0
Martial art-acting in dictatorial Indonesia: Antigone (1974) and Lysistrata (1975) directed by W. S. Rendra	0
Reiterated empathy in BA director training	0
‘As discreet and essential as a heartbeat’ 1	0
Acting class: the legacy of Joan and the politics of training – revisiting a working-class theatre ethos in today’s training rooms	0
Personal development as director training: a dramatic dialogue	0
Seeking authenticity in a professional world: personal narratives on collaborating with amateurs in contemporary Chinese choreographic practices	0
Humanity and animality in Chinese martial arts	0
Sensing space, moving with intention: reframing choreographic agency through somatic and installation practices	0
Interview with Adrian Lester: taekwondo and actor training	0
Embodied learning with metaphors and Rich Picture-like diagrams in actor training: an articulated, playful approach to teaching and practice-led research	0
Mastering Angika Abhinaya : somatic actor training with Seraikella Chhau	0
Facing the ‘Bruno’: how talking about stage fright eases the isolation, not the anxiety	0
Postcard to a friend	0
New ways of living, being and training: learning how to be with love	0
‘Northern lights’, the Welfare State Winter School, in Ulverston, February 1991	0
Leaving the cave	0
Green Training where are you?	0
Turtlenecks and a bad attitude: student drama as director training	0
Desmond Jones (1937–2024)	0
Spatial projection: extended perception for theatre creators through the practice of Chinese martial arts	0
‘And all the men and women merely players’: theatre training in VR	0
Putting the Theatre Green Book into practice: sustainability, pedagogy and the conservatoire	0
Between tradition and modernity: developments in Xiqu (Chinese opera) actor training	0
In/tension: Striving for balance between agency and discipline in Training	0
Embodied ecological awareness and the pedagogy of Jacques Lecoq	0
Transformations across time and space	0
Editorial	0
Is this a stethoscope I see before me? Extratheatrical employment as enhancement to actor training	0
Training for resilience	0
Concrete experience: Parkour as a culture of agential learning	0
‘Call Me by My Name’: inclusive actor training for second language users	0
Dancing with Eternity in Zizhuyuan’s Embrace	0
The canon and the contemporary: change, challenge, conceit	0
Editorial	0
Maintaining the consent-bubble: an intimacy coordinator’s perspective on touch in performance training	0
Martial arts training during the pandemic and beyond: towards practices of virtuality	0
Moving in a different direction (directing down under): the evolution of director training into studies of ‘creative leadership’ in an Australian context	0
Actor training in the absence of Western methods: a personal journey from Ta’ziyeh to American theatre education	0
Somatic Wisdom	0
Editorial	0
Performing landscape as a practice of the awakened heart*	0
The S-Word Conference: Stand in Place/Stanislavski & Place	0
Performer’s dramaturgy: Developing dramaturgical thinking through choreological practice	0
Embodiment, hybridity, and habit: the stick as an actor training tool	0
The legacy of the Nanjing Project: training Australian circus bodies	0
Chat up	0
Beyond the stage: transferable skills for health and resilience	0
Amateur actor training in Israeli community-based theatre	0
Monika Pagneux (1927–2023): a kind of obituary	0
Training the intercultural physical body: stylised dagger technique, Lecoq’s poetic body, and touch-based improvisation in Blind Bird	0
‘Training and access’	0