The book includes chapters on interdisciplinary opera, Korean pansori, Carnatic vocal music and rhetoric as the foundation of premodern actor training, among others.
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.
TABLE OF CONTENTS
Section I: (Re)Introducing time
1. Foreword: embodied time by Anne Bogart.
2. Introduction: expansive temporalities of performer training by Konstantinos Thomaidis, with Mark Evans and Libby Worth.
Section II: About time: narratives of time
3. Lecoq: training, time and temporality by Mark Evans.
4. Premodern training: a provocation by David Wiles.
5. Time in noh theatre performance and training: conversations with Udaka Tatsushige by Diego Pellecchia.
6. A materialist feminist perspective on time in actor training: the commodity of illusion by Evi Stamatiou.
Section III: On time: temporalizing time through technique
7. The ecology of a sense of good timing by Darren Tunstall.
8. Gathering ghosts: Lecoq’s twenty movements as a technique to mark time by Jenny Swingler
9. Adavu: drilling through time by Mark Hamilton
10. RSVP and the timely experience by Gyllian Raby
Section IV: Over time: age, duration, longevity
11. Formative trainings in Carnatic vocal music: a three-way conversation through time by Tim Jones
12. Change, continuity and repetition: married to the Balinese Mask by Tiffany Strawson
13. The feeling of time byJennifer Jackson
14. The dance of opposition: repetition, legacy and difference in Third Theatre training by Jane Turner and Patrick Campbell
Section V: Out of time: beyond presence and the present
15. Bridging monuments: on repetition, time and articulated knowledge at The Bridge of Winds group by Adriana La Selva
16. The always-not-yet / always-already of voice perception: training towards vocal presence by Konstantinos Thomaidis
17. Rehearsing (inter)disciplinarity: training, production practice, and the 10,000-hour problemby Laura Vorwerg
18. Beyond the ‘time capsule’: recreating Korean narrative temporalities in pansori singing by Chan E. Park
Section VI: From time to times: expansive temporalities
19. Simultaneity and asynchronicity in performer training: a case study of Massive Open Online Courses as training tools byJonathan Pitches
20. Festival time by Kate Craddock
21. Time, friendship and ‘collective intimacy’: the point of view of a co-devisor from within Little Bulb Theatre by Eugénie Pastor
22. Time moves: temporal experiences in current London-based training for traditional clog and rapper sword dances by Libby Worth