Time and Performer Training

Mark Evans, Konstantinos Thomaidis, Libby Worth, Mark Evans, Konstantinos Thomaidis, Libby Worth

• Éditeur: Routledge
• Année: 2019
• ISBN:
  9781351180344
• Édition: 1
• Sujet: Médias et arts de la scène
• Sous-sujet: Théâtre

Time and Performer Training addresses the importance and centrality of time and temporality to the practices, processes and conceptual thinking of performer training. Notions of time are embedded in almost every aspect of performer training, and so contributors to this book look at:

• age/aging and children in the training context
• how training impacts over a lifetime
• the duration of training and the impact of training regimes over time
• concepts of timing and the 'right' time
• how time is viewed from a range of international training perspectives
• collectives, ensembles and fashions in training, their decay or endurance

Through focusing on time and the temporal in performer training, this book offers innovative ways of integrating research into studio practices. It also steps out beyond the more traditional places of training to open up time in relation to contested training practices that take place online, in festival spaces and in folk or amateur practices.

Ideal for both instructors and students, each section of this well-illustrated book follows a thematic structure and includes full-length chapters alongside shorter provocations. Featuring contributions from an international range of authors who draw on their backgrounds as artists, scholars and teachers, Time and Performer Training is a major step in our understanding of how time affects the preparation for performance.

Chapter 16 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons (CC-BY) 4.0 license.

INDEX

Note: Boldface page numbers refer to tables; italic page numbers refer to figures and page numbers followed by “n” denote endnotes.

Abele, Andrea 70

abhinaya 104

academic capital 59n2

accents 67

ACT Festival 194, 197, 200–1

action unit 66, 67, 72

actor-entrepreneur 56–7, 58

actor training 50–9

Actor Training Reading 39

ada 104, 107n9

Adam, Barbara 90, 94

adat 109

adavu 13, 79–87

affect 70, 71, 145–6, 211

agama 109

age 12–13, 16, 108–12, 114–15, 118

agem 114

agemaku pull-up curtain 47

agency/competence 71, 73

aksara 83

allarippu 82

allotopic exochrony 14, 157–63

Alonso, Luis 14, 128–31, 129, 134–5

always-not-yet/always-already voice perception 151–64

Amateur Craft: History and Theory 210

anak anak 110

Andersen’s Dream 133

Angelelli, Guillermo 144

Angikabhinayam 106

‘ansel’ 114

aplomb 14, 120–3, 123n4

articulated knowledge 139–50

asynchronicity 181–93

auditory feedback and pitch 164n7

Aum 83

aural methods 153–4, 213

aural-oral method 175

auto-cours process 28, 31, 33–5

Baek Geoi 178n7

Balanchine 121, 122

Balinese Masked-Dance drama: age and legacy 110–12; challenges and obstacles 112; introduction 108–9; mask embodiment 112–15; non-Balinese ‘marriage’ 115–16; relationship to mask 115; situating 109–12; training and teaching relationship 116–18; training as/in performance 110

ballet/ballet class 14, 120–3, 123n3, 123n6, 167, 205

Ballinger, Rucina 111–12, 117, 118n1

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