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Capoeira Angola Diversifying the University: sowing an Ecology of Knowledges in the Performing Arts
Using testimonies from students after one semester practicing the art of capoeira, we underscore the potentiality of Capoeira Angola for actor training, as well as for promoting the self-knowledge of human beings and their social action. It is the playfulness and complexity of Capoeira Angola’s martial game, congregating space-body skills, music and poetry, in addition to a history of resistance and resilience as African heritage, constructing an Ecology of Knowledges that contributes to performing arts training and also to the embracing of Afro-diasporic popular culture by Brazilian universities.
Journal Article
Singing and the Actor
Singing and the Actor takes the reader step by step through a practical training programme relevant to the modern singing actor and dancer. A variety of contemporary voice qualities including Belting and Twang are explained, with excercises for each topic.
A leading exponent of Estill Voice Craft, Gillyanne Kayes runs a vocal consultancy, trouble-shooting for teachers and choral directors. Many West End and pop artistes have already benefited from her accurate and practical information about the singing voice. She is much in demand as a seminar leader and workshop facilitator
eBook
Acting
Acting: Cut the Crap, Cue the Truth fills a gap in the drama school curriculum, tackling many areas which are unaddressed during training and discussing issues that are more often than not hushed up afterwards. Starting from the vital final stages of training, and on to life as a professional, Natalie Burt - a young, jobbing actress - moves systematically through the challenges that every actor faces; from making strategic career decisions, to the logistics of TV and film sets and voice over work, to more personal matters such as renting and flat-sharing, finance and well-being when out of work. Rejecting gimmicks and quick fixes, she encourages motivational thinking and entrepreneurialism using an informal, unapologetic and humorous tone whilst sharing information that is current, relevant and from the frontline.Or, as Natalie puts it, 'a thorough, constructive and ball-achingly honest chat about the industry, written by someone who still has all their own teeth.'Contributors to the book include Spotlight, Equity, James Penford from Hatton McEwan Penford agency and Alice Purser from Andy Pryor Casting.Endorsements:'What Natalie Burt has done here is remarkable. She has written a luminously honest, very funny, often very touching voyage of what it is actually like to be afflicted with the unquenchable desire to dedicate oneself to being a professional actor.' Timothy Spall O.B.E(ese)'A refreshing and entertaining take on the challenges facing actors and how best to surmount them.' Ben Seale, Managing Partner, Spotlight'Natalie's book is like her acting: playful, irreverent, and accomplished. An invaluable resource.' Laurie Sansom, Artistic Director, National Theatre of Scotland'At last! The book all aspiring actors have been waiting for. A truthful, comprehensive, funny guide to life as a jobbing and sometimes not jobbing actor.' Caroline
Quentin'The best book ever written.' Natalie's mum.
eBook
Vindenes Bro: an event faced with time
ABSTRACT – Vindenes Bro: an event faced with time – The article presents part of the work developed by the international theater group Vindenes Bro – Bridge of Winds, in English – coordinated by Iben Nagel Rasmussen, actress of the theater group Odin Teatret, Denmark. Through a testimonial narrative, the author, also a member of the group, puts into relation the concepts of event and physical training. The text is interspersed by the transcription of a day of training experienced in the Vindenes Bro. Iben's legacy forms the grounds for thinking about the potential relevance of group theater in face of contemporary theatrical performance. Authors such as Jerzy Grotowski, Eugenio Barba, Gilles Deleuze and Iben Rasmussen herself are put together to intertwine the times that constitute the life of The Bridge of Winds.
Journal Article
Performing—Feeling, Auto-Transformation, and Expression Tang Shu-wing and His Theatre Studio in Hong Kong
This article presents the multifaceted persona of Tang Shu-wing, an acclaimed director, actor, and drama teacher, and examines his profound connections with the Polish theater tradition, particularly Jerzy Grotowski. The text also discusses Tang Shu-wing’s Shakespearean productions staged in Warsaw and Gdańsk. Marzenna Wiśniewska’s introduction contextualizes the appendix, which contains the edited transcript of a lecture delivered by Tang Shu-wing during the international online conference Contemporary Acting Techniques in Eurasian Theatre, Performance and Audiovisual Art: Intercultural and Intermedia Perspective (2021). In this lecture, thedirector characterizes the main ideas underlying his actor training and work on performances at the Tang Shu-wing Theatre Studio in Hong Kong. An essential part of the presentation is the characterization of Tang Shu-wing’s philosophy of art, including the four stages of an artist’s development and the methodology of authorial performance grounded in pre-verbal expression and body-based mini- malist aesthetics.
Journal Article
Exploring the integration of cultural roots in contemporary Thai actor training using the Delphi method
This study examines the integration of selected Thai traditional performing arts techniques into contemporary actor training in Thailand. Despite the country’s rich heritage of classical and folk performance, theatre education remains dominated by Western models, with traditional forms often marginalised or viewed as incompatible with modern performance contexts. Employing the Delphi method, the research engaged ten expert panellists across two rounds: in-depth interviews followed by a structured questionnaire assessing the relevance and adaptability of six traditional techniques. These included breathwork, exercises from classical and folk performance, movement sequences, folk dance improvisation, and traditional verse singing. Only breathwork achieved full consensus, with all experts agreeing on its benefits for cultivating mindfulness, emotional regulation, concentration, and presence in performance. While the other techniques did not meet the statistical criteria for consensus, expert commentary indicated conditional support depending on context and pedagogical approach. Panellists emphasised the importance of the teacher’s role as facilitator, the learner’s attitude, and engaging with the cultural essence of traditional forms rather than replicating surface aesthetics. They also recommended integrating body, voice, singing, and storytelling, which are central to Thai performance traditions. Such a multidimensional approach supports holistic and embodied training suited to the interdisciplinary demands of contemporary performance.
Journal Article
Art Meets Sport: What Can Actor Training Bring to Physical Literacy Programs?
The aim of this communication is to highlight synergies and opportunities between the fields of education, sport and health and the performing arts for the promotion of physical literacy. First, physical literacy is introduced and then defined according to the definition used in this communication. Secondly, we highlight the gap in physical literacy interventions, in that they do not address learning based on a holistic comprehensive definition of physical literacy. Then we provide examples of interventions that do borrow from the arts, such as circus arts, and show how these approaches explicitly link to the discipline of arts. This is followed by program examples, which approach motor and language development from discipline-specific perspectives. Then we introduce actor training (within the discipline of arts) in terms of how this approach may be useful to our understanding of physical literacy and how to expand the conception of physical literacy to include affective meaning making, and tolerance for ambiguity and discomfort in not-knowing. Finally, we conclude with the next step for the bridging of disciplines in order to further our journey to understand and improve physical literacy.
Journal Article
Kokyu Studio in Wrocław: A Place of Practice
This article attempts to outline the most important assumptions of the work of Kokyu Studio led by Przemysław Błaszczak and Joanna Kurzyńska and based at the Grotowski Institute in Wrocław in Poland. The Studio’s educational and artistic programme is founded on the idea of a ‘place of practice’, which captures the philosophical, practical, aesthetic, and ethical horizon of the activities common to all members of the Studio. The regularity of practice, exposure to long working processes, and the improvement of the quality of movement, which are rooted in several traditions and methods of work, allow practitioners to study their own development and integrate various sources of knowledge. Reflections here also ask questions about the place and application of such a model of work in the context of contemporary challenges for actor-performer training.
Journal Article