Theatre Dance and Performance Training

Article	Citations
Tik Tok and generation Z	40
Supporting the performance of Noongar language inHecate	5
Social (distance) dancing during covid with project trans(m)it	5
An integrative methodology for circus training based on creativity and education on physical expression	3
A special relationship: a broad survey of Japanese performance training methodologies’ influence on Brisbane actor training since the 1990s	3
Impermeable bodies: Women who lion dance in Boston’s Chinatown	3
Not not doing therapy: performer training and the ‘third’ space	3
Actions speak louder than words. An investigation around the promises and the reality of representation in actor training	2
Embodied exploratory processes in Australian performance training and international influences	2
Reimagining dance and digital media training in an era of techno-neoliberalism: collective pedagogical models for digital media education in dance	2
Towards planetary performance pedagogy: digital companions in multipolar classrooms	2
Performance training as healing: reflecting on workshops leading to the Indigenous theatre process Native Performance Culture (NPC)	2
Kitchen contemporary dance classes in times of COVID-19, Dance Objects (DO): Dancing the onion	2
Martial arts training during the pandemic and beyond: towards practices of virtuality	2
Social circus in aerials: Female experience, muscularity, pain and trust	1
Peter Hulton and arts archives – an appreciation	1
The art of experiencing: reflective appreciative actor training towards well-being, artistry, and personal agency	1
Physical training online: transitioning towards digital pedagogies	1
Cultivating vessel and voice: embodiment as a way of being in performer training	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
PLAY, COMPLICITÉ, DISPONIBILITÉ: a dialogue between Mark Evans (ME) and Simon Murray (SM) at the National Theatre in London, November 2018	1
Decolonising theatre and ensemble training in Aotearoa/New Zealand: Te Rākau Hua o Te Wao Tapu Theatre	1
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	1
The rogue less travelled: writing for performance at the National Institute of Dramatic Art	1

Editorial	1
Performance ‘Training’ in the Dirt: facilitating belonging in a regional community musical theatre event	1
Actor education, object animation and care	1
Accessing Psychophysical Identities through Russian Martial Arts in actor training	1
Languaging a widened embodied repertoire	1
Between tradition and modernity: developments in Xiqu (Chinese opera) 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
Cross-cultural expression of Chinese ballet: Symbol, Identity, Context and Empathy	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
Humanity and animality in Chinese martial arts	1
Journeying towards multitudinous bodies: working with body weather practices through the creation of Into the Mountain	1
Pierre Bourdieu and actor training: towards decolonising and decentering actor training pedagogies	1
Somatic work and independent training as an invisibly disabled performer	1
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
Body Weather bodies in the outback – Lake Mungo	1
Drawing as part of a performance practice	1
The interpersonal body: knowing another through the shared embodiment of ‘energetic contact’	0
A postcard from the archives	0
Editorial: dedicated to the memory of Alison Hodge (1959–2019)	0
‘Shoulder to Shoulder: Sweat and Joy’ – training with Gravity and Other Myths	0
There is no such thing as an accident	0
Correction	0
Opening pathways to training for young disabled dancers: an action research approach	0
Interview with Padma Shri S. R. D. Prasad: On the Martial Art Form of Kalarippayattu	0
Ship of fools	0
Asymmetrical motion intensive workshop, held in Alas Artes en Movimiento, Barcelona, July 5th–9th 2021 led by Lucas Condró	0
Pandemic as climate: new ways of living, being and training	0
Aikido in Kokyu Studio’s practice	0
Training for resilience	0
Sanctuary on the fault line: environmental dance practice as liminal critique and refuge	0
Flipping the creative conservatoire classroom	0
(hyper-) Linked: new ways of living, being and training	0
Voice (as and in) touch	0
Give yourself permission	0
Training and … buildings	0
‘Call Me by My Name’: inclusive actor training for second language users	0
Post card from an insider artist	0
Director training: a mine field or brave new world?	0
Rehearsing reality: an acrostic for training interactive theatre	0
Mapping the terrain	0
The Companionship Scores	0
New ways of living, being and training: learning how to be with love	0
Training and … buildings	0
Mastering Angika Abhinaya : somatic actor training with Seraikella Chhau	0
Editorial	0
The Little Acorns – it was a touch and go experience	0
Twists, turns and a loose web of contradictory truths	0
Towards probody artmaking: from rehabilitation, prehabilitation to prohabilitation 1	0

Interview with Adrian Lester: taekwondo and actor training	0
‘Yes, and’ and ‘No, although’: Inviting dissent and difference towards agency as part of multi-representative practice in actor training	0
Degrowth pedagogies: a manifesto for Earth-centred theatre training	0
Applied theatre training: theatre for Democracy and knowledge exchange	0
Touch as a feedback loop: exercising the leap from inertia to activation	0
Queer performance in times of the pandemic: movement, identity, and hope in heart2heart and The Ladder Project	0
Training and the virtual: body network	0
Leaving the script behind	0
Our contact improvisation partners during lockdown for dancers in training	0
Stages of reckoning: antiracist and decolonial actor training Stages of reckoning: antiracist and decolonial actor training edited by A. M.	0
In touch and between: a tactile toolkit for creative practitioners to navigate touch within their creative practice	0
Beauty, vulnerability, obstination, refusal	0
Hope, in the bleak mid-winter	0
Finding identity through directing, by Soseh Yekanians	0
Thin skin – new ways of living, being and training	0
Actor training in anglophone countries: past, present and future, by Peter Zazzali	0
Rehearsing performative traditions: engaging with cultural practices in college devised theatre	0
After the empty space: from traditional settings to new creative ecologies	0
Rhythm in Acting and Performance	0
Mental health & the acting studio	0
Towards a trauma informed pedagogy in actor training: knowledge and agency	0
Director training and education: models from Brazil and the UK	0
In/tension: Striving for balance between agency and discipline in Training	0
Michael Chekhov's acting technique: a practitioner’s guide	0
The Cherbourg Walk	0
Actor training underwater in the future	0
The Nomadic Studio – dream-weaving a proposal for performer training	0
To (take a) Stand	0
Charging	0
Reiterated empathy in BA director training	0
Technology & Performer Training (Online) Hosted by University of South Wales May 18th, 2020	0
Transformations across time and space	0
Independent beats to global feet: the evolution of English tap jams	0
Michael Chekhov and Sanford Meisner: Collisions and Convergence in Actor Training	0
Turtlenecks and a bad attitude: student drama as director training	0
Actor without a theatre (new ways of living, being and training)	0
Training and… masks	0
Editorial	0
Practice, practice, practice	0
Message in a bottle?	0
Dear ship of fools	0
Greetings to the living	0
Training and … buildings	0
The listening actor: intersections between the musicality of Meisner Technique and ear training in Dalcroze Eurhythmics	0
The Life of Training	0
Editorial	0
Habits of creativity: agency and children’s drama practice in imaginary play and elective classes	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
Editorial	0
Relational Dynamics: the use of coaching techniques in participative performance	0
Diálogo Escénico	0
What about director training? A story of 30 years – ‘back into the future’	0
Theatre for Sentient Beings: a performative practice of apprenticing gestures and transformation with the southwestern American desert high plateaux	0
…Ship of fools	0
Standing	0
Encounters at the edge of the woods: relational repair from within ‘irreconcilable space’	0
Access and imagination	0
The locus of control in higher education, a case study from performer training	0
Mind over matter	0
Laughing jesters of Tibet: the embodiment of joy	0
Passion or profession: the training of theatre directors in South Africa	0
The Corridors exercise: a Michael Chekhov-based approach to discovering, experiencing, and embodying Given Circumstances and character biography	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
The dance artistry of Diane Alison-Mitchell and Paradigmz: Accounting for professional practice between 1993 and 2003	0
‘The ship of fools’: a critical laboratory	0
‘Let go lightly’: the absent presence of taijiquan in the artistic practice of ROSA and ATIS	0
.Behind from Appears Noticing	0
Sustainability in technical theatre pedagogy and practice	0
What a touchy subject! Discussions, reflections and thoughts about touch on the UEL BA (Hons) Dance: Urban Practice course	0
Embodied learning with metaphors and Rich Picture-like diagrams in actor training: an articulated, playful approach to teaching and practice-led research	0
Chat up	0
Strategies for Neurodiversity and Dyslexia in Actor Training: Sensing Shakespeare, by Petronilla Whitfield	0
Concrete experience: Parkour as a culture of agential learning	0
The Road Not Taken: the importance of creative and experimental methods in training new acting students	0
‘Training and access’	0
Editorial	0
Archiving the healing touch	0
‘And all the men and women merely players’: theatre training in VR	0
The applicability of historical Japanese and Polish fencing to the development of acting competences	0
A repertoire of touch in participatory choreography	0

International Conference: Rhythm in the body on stage: The Return Beat – Interfacing with our Interface	0
Groundwork: place-based integrative actor training in a fluctuating world	0
Tactile renegotiations in actor training: what the pandemic taught us about touch	0
What saying ‘yes’ affirms – we feel; we move; we do	0
Linguistic bodies: cognitive science and Stanislavsky’s last words	0
Developing an ecological consciousness through 360° immersive dance-making	0
The microphone is always hot	0
Feeling voices – 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
Filming process: questions and considerations	0
Postcard	0
Finding agency in the imagined body through Unreal Engine’s Live Link performance capture	0
Editorial	0
Tracing the impacts of informal dance training: a case study of falling on your feet, a programme for dancers over 65	0
Musicality and transformative mise-en-scène: Ten principles for teaching theatre directing as composition	0
Moving Matter: A methodology for material-led collaborations	0
Reconsidering Stanislavski and Barba in the light of neuroscience: a comparative study of organic acting	0
…Ship of fools	0
Locator	0
‘Critical Pathways’ – Training and Investigating the Art of Choreography-Making with Rosemary Butcher	0
Moving in a different direction (directing down under): the evolution of director training into studies of ‘creative leadership’ in an Australian context	0
Acknowledgement of Country	0
Personal development as director training: a dramatic dialogue	0
Editorial	0
That, there, then…Now	0
It only takes a spark…	0
Performer’s dramaturgy: Developing dramaturgical thinking through choreological practice	0
Action, sensory stimulation and narrative imagination: applying Odin Teatret’s training in the management of the recovery process of post-stroke patients	0
Spatial projection: extended perception for theatre creators through the practice of Chinese martial arts	0
It’s a question of love	0
From the Ship of Fools (SoF)	0
Holding the edge: between embodied trauma and choreographic learning	0
From the centre to the periphery	0
Moving towards a liberatory pedagogy: Mattering language in Niamh Dowling’s practice	0
Beyond the stomp: the Nobbs Suzuki Praxis as an Australian variant of the Suzuki Method of Actor Training	0
The Australian accent and actor training: the current state of play	0
Director’s fear and self-cultivation	0
The physical actor: contact improvisation from studio to stage, by Annie Loui	0
Y Space: grounded in flight – training for the air	0
Training Historical European Martial Arts	0
Correction	0
The canon and the contemporary: change, challenge, conceit	0
Ship of fools	0
…Ship of fools	0
Embodied ecological awareness and the pedagogy of Jacques Lecoq	0
The physical actor: contact improvisation from studio to stage, by Annie Loui	0
Someone else’s rehearsal	0
HÍSW̱ḴE (SENĆOŦEN word used to express gratitude, to give thanks)	0
Waiting is a limitation	0
New platforms – for living, being and training	0
Building a culture of collaboration with rules, norms, and community agreements	0
Training and… masks	0
Walk of Life Training in Non-stylised and Environmental Movement	0
Exploring Rudolf Laban’s flow effort: new parameters of touch	0
The spark and the journey	0
Connections with the earth	0
Leaving the cave	0
Spaces of agency: exploring text-bodyworld hybrids	0
Touch in tableau: a powerful moment to break the wall	0
A model of Buddhist-Somatic practice in Thai performer training	0
Access for autistic student-actors: interrogating the role of empathy within actor-training methods	0
Reenacting pedagogies of socialism: auto-analysis of a critical practice	0
Approaching pedagogical arts research from within the studio	0
Is the readiness all? Revisiting martial arts in actor training	0
Skills for the edge of extinction	0
Postcards from the unreal engine	0
Consent-based actor training as the only way forward	0
Training grounds for an enchanted kinship	0
The use of Body-Mind Centering ® to support training in Michael Chekhov’s acting technique	0
Postcard to a friend	0
Affective topologies and virtual tactile experiences in theatre training	0
Editorial	0
A place of practice – a report from Kokyu Studio	0
The Unclean, ‘touching and training’ in puppetry from Japanese otome bunraku	0
Relational performance pedagogy: North American innovations in the lineages of Decroux and Grotowski	0
An actor and a monk: discovering and navigating impulses	0
Unrehearsed Futures: A series of public conversations on theatre pedagogy hosted by Drama School Mumbai	0
What can an accomplice accomplish? Thinking about casting, point of view, and anti-racism in director training	0
Joan Littlewood and Ariane Mnouchkine against the canon: developing the actors’ social representations through clowning	0
Editorial	0
Seeking authenticity in a professional world: personal narratives on collaborating with amateurs in contemporary Chinese choreographic practices	0
Architectures of access	0
Constructing codes of behaviour: the ‘doxic agreement’ as a force for agency in contemporary dance technique training	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
Joy is the way	0
‘And Suddenly…!’	0
Touch and consent: towards an ethics of care in intimate performance	0
Editorial	0
Unrehearsed Futures - Season 2: a series of public conversations on possibility, plurality and planetarity in theatre pedagogy hosted by Drama School Mumbai	0
Nancy Stark Smith February 11, 1952 – May 1, 2020. Dancer, Teacher, Writer, Curator, Editor, Phenomenon	0
How do directors train?	0
‘Trust me, kid’: leadership style and how we train directors to talk to actors	0
How to do a plié and not get bored	0
Language	0
Black dance and technologies of wellness	0