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Performer Training is an examination of how actors are trained in different cultures. Beginning with studies of mainstream training in countries such as Poland, Australia, Germany, and the United States, subsequent studies survey:
Some of Asia's traditional training methods and recent experiments in performer training
Eugenio Barba's training methods
Jerzy Grotowski's most recent investigations
The Japanese American NOHO companies attempts at integrating Kyogen into the works of Samuel Beckett
Descriptions of the training methods developed by Tadashi Suzuki and Anne Bogart at their Saratoga International Theatre Institute
Recent efforts to re-examine the role and scope of training, like Britain's International Workshop Festival and the European League of Institutes of Arts masterclasses
The reformulation of the use of emotions in performer training known as Alba Emoting.
Performer Training is an examination of how actors are trained in different cultures. Beginning with studies of mainstream training in countries such as Poland, Australia, Germany, and the United States, subsequent studies survey:
Some of Asia's traditional training methods and recent experiments in performer training
Eugenio Barba's training methods
Jerzy Grotowski's most recent investigations
The Japanese American NOHO companies attempts at integrating Kyogen into the works of Samuel Beckett
Descriptions of the training methods developed by Tadashi Suzuki and Anne Bogart at their Saratoga International Theatre Institute
Recent efforts to re-examine the role and scope of training, like Britain's International Workshop Festival and the European League of Institutes of Arts masterclasses
The reformulation of the use of emotions in performer training known as Alba Emoting.
Part 1 Institutional training: theatre training in Poland, Kazimierz Braun; the Hochschule fur Schauspielkunst "Ernst Busch" Berlin -theatre training in post-GDR Berlin, Steve Earnest; mapping training/mapping performance - current trends in Australian actor training, Barry O'Connor; actor training in the United States - past, present and future (?), Ian Watson. Part 2 The East and experiments: invisible training in Balinese performance, Ron Jenkins and I. Nyoman Catra; a study in Motley - the Odin actors, Janne Risum; ambivalent positionings - Grotowski's art as vehicle and the paradox of categorization, Lisa Wolford; Beckett in Kyogen style - lessons in intercultural translation, Jonah Salz. Part 3 Some recent trends: Workshops for the World - the International Workshop Festival, Clive Barker and Dick McCaw; SITI, a site of stillness and surprise - Ann Bogart's viewpoints training meets Tadashi Suzuki's method of actor training, Eelke Lampe; entering the political discussion by artistic means - ELIA Master Class on Acting 1994, Jacqueline Martin; Alba emoting - a revolution in emotion for the actor, Roxanne Rix.
Ian Watson teaches at Rutgers University-Newark where he heads the Theatre Arts Program. He is especially interested in interculturalism in the theatre
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