Dr Konstantinos Thomaidis receives Honorable Mention for Excellence in Editing, ATHE Awards 2020

Dr Konstantinos Thomaidis, co-founder and co-convenor of the Centre for Interdisciplinary Voice Studies, has received an Honorable Mention for Excellence in Editing at this year’s ATHE Awards for editing the special issueWhat is New in Voice Training?’ for Theatre, Dance and Performance Training journal.

unnamed.jpg    ATHE 2020 KT.png

ATHE is the Association for Theatre in Higher Education and ATHE’s Excellence in Editing Award “honors both individual achievements in editing and sustained achievement in editing over extended periods of time. These awards are given in rotation. This year, ATHE celebrates individual achievement in editing.”

Since 2006, Dr Konstantinos Thomaidis’s research has focused on the cross-cultural, transnational and intersectional body politics of voice pedagogy; vocal praxis, voice practice-research and voice in artistic research; and interdisciplinary methodologies in/for voice studies. His work has been instrumental in the emergence of the field of voice studies: he has co-founded and co-edits the Journal of Interdisciplinary Voice Studies and the Routledge Voice Studies book series (both with Ben Macpherson); he co-founded and co-convenes the Sound, Voice & Music Working Group at TaPRA (with Leah Broad and Adrian Curtin); he participates in international initiatives such as the Cluster of Research Excellence in Culture, Creativity, Health and Well-Being (UBC, Canada / Exeter, UK), the Nordic Network for Vocal Performance Research and the Ancient Greek Theatre Workshop Therino Manteio. His previous research includes the monograph Theatre & Voicethe edited collections Voice Studies: Critical Approaches to Process, Performance and Experience (with Ben Macpherson) and Time and Performer Training (with Libby Worth and Mark Evans); the special issue ‘Voicing Belonging: Traditional Singing in a Globalized World’ (with Virginie Magnat); chapters on voice & forensics, physiovocality, the vocal body and the spatiotemporality of vocal presence; and articles on vocal autobiography/autobiophony, the use of technology in Korean pansori, practice-research in voice studies, travelling soundscapes (with Natalia Theodoridou) and listening-across, among many others. In 2019, Dr Thomaidis was also shortlisted for the Early Career Research Prize of the Theatre & Performance Research Association (TaPRA).

You can access the acceptance speech here: https://youtu.be/shX4fhj0ELI

Theatre, Dance and Performance Training journal published a blog to mark the award: http://theatredanceperformancetraining.org/2020/07/athe-awards-konstantinos-thomaidis-honorable-mention-for-excellence-in-editing-on-tdpt-10-3-what-is-new-is-voice-training/

The journal also made available a few pieces of the special issue for the next month as part of the celebration. These include the Editorial, an article on new voice curriculum for young Maya Guatemalan women, an essai on voice work for D/deaf actors, and Thomaidis’ article on pansori.

Congratulations to Dr Thomaidis, the journal and all contributors to the special issue, and many thanks to ATHE and the Awards Committee!

The CIVS team

Vicarious Vocalities logo


Call for Papers


Lost, Borrowed and Stolen Voices in popular culture
A virtual voice studies conference

Friday 25 – Saturday 26 September 2020

(Virtual platform details TBA)




Vicarious Vocalities, Simulated Songs: Lost, Borrowed and Stolen Voices in popular culture aims to explore the many and varied iterations of simulated, copied or imitative voices in popular culture from the invention of sound recording to the present day.


Ranging in scope from the overdubbed ‘ghost singing’ of the Hollywood musical to the success of comedians such as Lost Voice Guy on Britain’s Got Talent (ITV, UK) or singing ventriloquist Darci-Lynne on its American counterpart, it seeks to examine and critically analyse the phenomena of such voices.


The conference invites presentations that draw upon an international and interdisciplinary approach to uncover and understand the fascination with — and function of — these voices in popular culture, as sites of intersection related to individual identity, as part of the creative economy and with respect to the aesthetics of performance.


Identifying vocal vicariousness or sonic similarity as a shared property across a range of such voices, the conference seeks to curate a conversation that brings together approaches and ideas that have thus far been largely disparate in scholarship. As an aim, then, its intention is to explore connections and find new resonances between performance and current discourses on subjects including ventriloquism (Steven Connor 2000), tribute acts (Shane Homan 2006; Georgina Gregory 2016), lipsynching (Caroline Langley 2006; Jason Bird 2020; Merrie Snell 2020), karaoke (Rob Drew 2001; Kevin Brown 2015) or vocal emulation in bio-musicals and biopics (Millie Taylor 2012; Ben Macpherson 2020).


Sample lines of enquiry might therefore include:


  • Case studies of particular performers, performances or techniques;
  • Fetishized vocality on television entertainment shows (e.g. Carpool Karaoke (Apple, USA); The Stand Up Sketch Show (ITV, UK); Hidden Singer (JTBC, South Korea));
  • Ventriloquism and its variations;
  • Overdubbing, ghost singing and playback singing across cultures;
  • Singing or speaking along with your (recorded) self (and its representation in performance);
  • Vocal simulation in bio-pics and bio-musicals;
  • Tribute acts;
  • Cover bands;
  • Karaoke and amateur ‘imitation’;
  • Mismatched media (e.g. Haribo sweet commercials; the ‘white voice’ of Boots Riley’s Sorry to Bother You(2018));
  • Satirical impressionists on stage and screen;
  • Lipsynching and its many manifestations;
  • The fetishised ‘othering’ of artificially-enhanced voices in popular culture.


The conference will consider such explorations in three strands, conceptualising vicarious vocality in the following ways:

STRAND 1: ‘Lost voices’

STRAND 2: ‘Borrowed voices’

STRAND 3: ‘Stolen voices’


We welcome proposals that challenge pre-existing boundaries of enquiry, embrace a plurality of approaches, and explore intersections ‘in-between’ previously discrete areas of practice or discourse (Thomaidis and Macpherson 2015). It is anticipated, then, that the same area of discussion may be included a number of times but explored through different lenses.


Anonymised abstracts of 250 words should be submitted, along with a separate 100 word biography (including institutional affiliation as appropriate), to vicariousvocalities@gmail.com by Monday 22nd June 2020. You will be notified by Monday 29th June 2020 if you have been invited to present.


Proposals should include a provisional title, a key theoretical or contextual framework, and indicate which thematic focus you have taken (‘Lost’, ‘Borrowed’ or ‘Stolen’).


Any queries or questions may be sent to the conference organiser, Dr Ben Macpherson (ben.macpherson@port.ac.uk).

We look forward to discussing these fascinating ideas together,

The conference committee

JIVS: In solidarity

In solidarity with all anti-racist action, the Journal of Interdisciplinary Voice Studies offers free access to Jennifer Stoever’s important article on the ‘cop voice’ and racial authority.

Read the article here:

‘Doing Fifty-Five in a Fifty-Four’: Hip Hop, Cop Voice and the Cadence of White Supremacy in the United States



We also offer free access to Marcus Cheng Chye Tan’s article on race, riots and the end of multiculturalism.

Read it here:

Performative Silence: Race, Riot and the End of Multiculturalism


Black Lives Matter,

The JIVS team

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JIVS 5.1 is out!

We’re delighted to share that the latest issue of the Journal of Interdisciplinary Voice Studies, which marks our fifth year of publication, is out.


Intellect Books | Journal of Interdisciplinary Voice Studies



Issue contents:

For Ali

by Konstantinos Thomaidis


‘La voz del pueblo y para el pueblo’ Amparo Ochoa’s vocal trajectory: From the Mexican Revolution to the Latin American Cold War

by Natalia Bieletto-Bueno


Whale wonder

by Michal Grover Friedlander


Baudrillard on Broadway: Bio-musicals, the hyperreal and the cultural politics of simuloquism

by Ben Macpherson


On breaking with

by Charulatha Mani


Dramaturging the I-voicer in A Voice Is. A Voice Has. A Voice Does.: Methodologies of autobiophony

by Konstantinos Thomaidis


Voice, technology and feminist community: An interview with NYX

by Francesco Bentivegna


Conference review: Transgender Singing Conference, Earlham College, Richmond, IN, 30-31 March 2019

by Tracy R. Grady


The issue celebrates the life and work of Advisory Board member Ali Hodge, and is dedicated to her memory.

We thank all our contributors, peer reviewers and board members, and we hope you enjoy reading the issue,


The CIVS team


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World Voice Day 2020: Free-Access Content



To celebrate World Voice Day 2020, we put together a list of all free content in publications edited, curated and authored by CIVS.



Issue 1.1 (2016) is fully available for free and contains work by Marcus Cheng Chye Tan, Matthew Rowney, Jonathan Boddam-Wetham, Kristin Linklater, Sarah Butcher, Salomé Voegelin and David Mollin



Voicing belonging: traditional singing in a globalized world

by Konstantinos Thomaidis and Virginie Magnat



Voice, identity, contact

by Yvon Bonenfant



From-ness: The identity of the practitioner in the laboratory

Nazlıhan Eda Erçin



Listening Across

by Konstantinos Thomaidis



Resounding legacies: remembering Cicely Berry

by Jane Boston; David Carey; Lyn Darnley; Kate Godfrey; Charmian Gradwell; Charmian Hoare; Barbara Houseman; Charlie Hughes-D’Aeth; Stephen Kemble; Nia Lynn; Jeannette Nelson; Patsy Rodenburg; Thomaidis, Konstantinos



‘A Song for You’: the role of voice in the reification and de-naturalization of ablebodiedness

by Jessica Holmes and Nina Sun Eidsheim



Ballad of the dork-o-phone: Towards a crip vocal technoscience

by Jonathan Sterne



(Re)authoring the 27 club: Bewildered voices, acousmatic audiophilia and the dangers of listening-in

by Ben Macpherson

Open Access institutional link:



Video contributions by Caroline Wilkins, Electa Behrens and Ditte Berkeley-Schultz, Ben Spatz and Elisabeth Belgrano can be accessed here (under ‘Aims and Scope’):





Voice Studies: Critical Approaches to Process, Performance and Experience

edited by Konstantinos Thomaidis and Ben Macpherson


Free preview material, including Paul Barker’s Foreword:



Composing for Voice

by Paul Barker and Maria Huesca


(includes free preview of the first, second and fourth chapters)


Training Actors’ Voices: Towards an Intercultural/Interdisciplinary Approach

by Tara McAllister-Viel


(includes free preview of the Introduction and the first chapter)


The Performative Power of Vocality

by Virginie Magnat


(includes free preview of the Foreword)



Theatre & Voice

by Konstantinos Thomaidis


Free sample chapter:





Cultural Identity in British Musical Theatre, 1890-1939: Knowing One’s Place

by Ben Macpherson


(Includes free preview material from Chapter 7)


The Revocalization of Logos? Thinking, Doing and Disseminating Voice

(in Studies in Musical Theatre, 8.1)

by Konstantinos Thomaidis



What is New in Voice Training? (Theatre, Dance and Performance Training journal)

edited by Konstantinos Thomaidis


Editorial: What is New in Voice Training?

by Konstantinos Thomaidis



Speech-language pathologists with a vocal music background: exploring impact on the training of the transgender voice

by Danielle Cozart Steele



Devisers in the dark: reconfiguring a material voice practice

by Electa Behrens



Blog entries by Faye Rigopoulou, Francesco Bentivegna, Charulatha Mani, Anna-Helena McLean and Petronilla Whitfield




Happy World Voice Day, everyone!


Stay well, stay safe,


The CIVS team

TDPT 10.3: Special Issue ‘What is New in Voice Training?’

We are delighted to share that the latest Theatre, Dance and Performance Training special issue, ‘What is New in Voice Training?’, is out.

The issue, guest edited by Konstantinos Thomaidis, proposes a timely re-examination of voice in performer training.






Editorial: What is new in voice training?

by Konstantinos Thomaidis



Answer the question: How are voice trainings adapted, recycled, transplanted and repurposed?

Rockford Sansom: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1667179

Abimbola Adetola Stephen-Adesina: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1667180

Luis Aros: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1667181

Oliver Mannel: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1667182

Sarah Weston: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1667183



Vocal Empowerment Curriculum for young Maya Guatemalan women

by Beth Osnes, Chelsea Hackett, Jen Walentas Lewon, Norma Baján & Christine Brennan




Pitch and gender in voice training: new methodological directions

by Jane Boston




The act of listening: Gardzienice’s mutuality practice and the ACTing voice

by Anna-Helena McLean (collaborating academic advisor Demetris Zavros)




Singing bodies: reconsidering and retraining the corporeal voice

by Gavin Thatcher & Daniel Galbreath




  1. Ariadne Calvano: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660530

Rachel K. Carter: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660531



Support: birthing the voice

by Leah Lovett




Speech-language pathologists with a vocal music background: exploring impact on the training of the transgender voice

by Danielle Cozart Steele




Ben Macpherson: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1677387

Annie Sanger-Davies: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1677386



Devisers in the dark: reconfiguring a material voice practice

by Electa W. Behrens




Approaching Italian gorgie through Karnatik brigha: an essai on intercultural vocal transmission

by Charulatha Mani




Between preservation and renewal: reconsidering technology in contemporary pansori training

by Konstnatinos Thomaidis



Visual Essay

Becoming robot through voice: training in artificial voices

by Francesco Bentivegna




‘Next year’s words await another voice’: British Sign Language and voice work with D/deaf actors at the Royal Conservatoire of Scotland

by Mel Drake



Obituary (Cicely Berry)

Stephen Kemble: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660538


Postcards to the future of voice

Kate Godfrey: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660532

Margaret Pikes: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660533

Darryl Taylor: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1667178

Subhashini Parthasarathy: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660534

Theodoros Terzopoulos: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660535

Jaroslaw Fret: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660536

Anne Bogart: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1660537



Marcus Cheng Chye Tan:


Sarah Holden-Boyd: https://www.tandfonline.com/doi/full/10.1080/19443927.2019.1640783

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We are pleased to announce that Journal of Interdisciplinary Voice Studies 4.2 is now available!

The special issue: The Role of Voice in the Reification and De-Naturalization of Able-Bodiedness was guest edited by Nina Sun Eisheim and Jessica Holmes.


For more information about the special issue and journal: https://www.intellectbooks.com/journal-of-interdisciplinary-voice-studies



Aims & Scope

The Journal of Interdisciplinary Voice Studies provides a peer-reviewed forum for scholarly and practice-based engagement with voice as a phenomenon of communication and performance, and a methodology or metaphor for analysis. Through an interdisciplinary negotiation of philosophy, practice and pedagogy, the journal draws from such disciplines as cultural studies, performance studies, inter-culturalism, linguistics, visual culture, musicology and somatics.


Issue 4.2


‘A Song for You’: The role of voice in the reification and de-naturalization of able-bodiedness

Jessica Holmes and Nina Sun Eidsheim



Extraordinary voices: Helen Keller, music and the limits of oralism

Michael Accinno


Disabling the avant-garde: Listening to Berberian and Lucier

Jennifer Iverson



Ballad of the dork-o-phone: Towards a crip vocal technoscience (Open Access)

Jonathan Sterne



Self-determination, disability aesthetics and (refusals of) voice in the US–RMI Compact of Free Association

Jessica Schwartz


Musicals and the envoicing of mental illness and madness: From Lady in the Dark to Man of La Mancha (and beyond)

Raymond Knapp and Zelda Knapp


The moaning of (un-)life: Animacy, muteness and eugenics in cinematic and televisual representation

James Deaville



Singing tone: Disability and pianistic voices

Stefan Sunandan Honisch


From Craic to Communitas: Furthering disability activism through traditional Irish song

Alexandria Carrico



Giving Voice: Mobile Communication, Disability and Inequality, Meryl Alper (2017)

Monica Chieffo

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Rethinking Theatre Voices (Konstantinos Thomaidis)

To celebrate 2 years from the publication of Theatre & Voice, the Macmillan International Higher Education Blog published a blog entry by Konstantinos Thomaidis on ‘Rethinking Theatre Voices’.


I was born tongue-tied and grew up with a speech impediment called rhotacism. Simply put: I couldn’t roll my ‘r’s, a consonant featuring prominently in my native language, Greek. As a teenager attending a Francophone school in Northern Greece, my teachers were proud of my ‘naturally’ French-sounding accent. During breaks, however, classmates would engage in friendly banter about it. At Drama Club, I was always given comedic roles, my word-formation considered well-suited to inducing laughter on stage.

I guess this is when I became aware—in a mostly intuitively but markedly embodied way— of three key points around voice.

First: that internal voice, language, speech and sounded voice are not the unified whole we may take them to be.

To read the full blog: https://www.macmillanihe.com/blog/post/theatre-voice-konstantinos-thomaidis/



Theatre & Voice was one of the publications for which Konstantinos Thomaidis was nominated for the Theatre & Performance Research Association (TaPRA) Early Career Research Prize. His portfolio of research was one of the three shortlisted by the judging panel for the Prize in 2019.


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JIVS Special Issue Call for Papers: Metaphoric Stammers and Embodied Speakers: Cultural, Clinical, and Creative Approaches to Dysfluent Speech

Call for Papers: Journal of Interdisciplinary Voice Studies

Special Issue: Metaphoric Stammers and Embodied Speakers: Cultural, Clinical, and Creative Approaches to Dysfluent Speech


Co-editors: Daniel Martin and Maria Stuart




This special issue of the Journal of Interdisciplinary Voice Studies explores embodied experiences and cultural constructions of stammering from the interdisciplinary perspectives of literary and cultural analysis, speech therapy, neurological research, and creative practice.

Despite the centrality of literary and cultural studies to the emergence of Dysfluency Studies (Marc Shell, Stutter 2005; Chris Eagle Dysfluencies 2014), the 2017 Oxford Dysfluency Conference had no humanities-based papers. A recent conference at University College, Dublin (‘Metaphoric Stammers and Embodied Speakers’, 12 October 2018) sought to address this imbalance, bringing cultural analysis into genuine exchange with scientific and therapeutic practice, and negotiating the tension between a medical model of ‘recovery’ and an emergent challenge (across disciplines) to cultural constructions of ‘normal’ speech.

This special issue draws upon and expands the parameters of that event, developing an interface between cultural, clinical, and creative practice in the area of speech ‘disorders,’ and generating new forms of communication and exchange across these fields. Although inviting a variety of disciplinary perspectives, underlying this diversity is a shared sense of dysfluency less as a ‘disorder’ to be treated (within an attendant pathologizing vocabulary) than a form of communication that highlights the intricate relationship between speaking and being heard, vocal agency and cultural reception, vocal expression and philosophical systems, voice and identity.

Of particular (and problematic) importance has been the cultural work performed by the metaphoric stammer as a sign of various conditions (both personal and collective) with little connection to actual dysfluency. Marc Shell first drew attention to the metaphoric appropriation of the stammer as a sign of multiple forms of ‘impediment’ – not only vocal, but social, psychological, intellectual and metaphysical – and the societal assumptions that underlie such usage (Shell, 2005). More recently, Daniel Martin has highlighted the way in which the ‘polymorphous metaphor of the stutter’ has ‘seduce[d] theorists from an awareness of the actual disability of developmental dysfluency’ towards ‘seductive descriptions of the “stuttering” rhythms of modern life, literature and aesthetics’ (Martin, 2015). Following such interventions, even work that remains engaged with Gilles Deleuze’s influential ‘articulation’ of the metaphorical stammer (‘He Stuttered’, 1998) needs to balance such usage with a sense of the corporeal experience of dysfluency (what Jay Dolmage has called ‘the embodied struggle for expression’ [2014]), an experience historicised in Eagle’s exploration of the interaction between literary practice and speech pathology (2014). Issues of embodiment, performance and creative disruption to normative speech have been the focus of work by Christof Migone (2012), Brandon LaBelle (2014), and Steven Connor (2014), while Joshua St. Pierre has explored the challenge posed by the dysfluent body to a post-capitalist economics of labour, communication and temporal ‘efficiency’ (2013).

In terms of clinical practice, the embodied experience of dysfluency has (in various forms) been at the core of therapeutic work. Recent innovations in clinical practice have moved away from concepts of recovery based on fluency towards models of collaboration in which ‘therapy’ is premised on exchange and interaction between therapist and client rather than hierarchies of expertise. Within such collaborative environments, both Narrative Therapy and Acceptance/Non-Avoidance therapies have emerged as transformative structures that draw upon aspects of cultural and creative practice to rewrite the terms of the clinical encounter and its ‘outcomes.’

This renewed focus on embodiment invites diverse, interdisciplinary approaches that accentuate the embodied experience of stammering in its therapeutic, cultural and creative forms. Proposals are welcomed for submissions in (but not limited to) the following areas:

  • Narrative therapy (in clinical, cultural, or creative practice)
  • Normative speech and counter voices of dysfluency
  • Rethinking ‘recovery’
  • Gender and dysfluency (the gendered experience and/or representation of dysfluency)
  • Ethnicity and the speech ‘disorder’
  • ‘Histories’ of dysfluency
  • Literary embodiment
  • Contemporary creative practice: expressive dysfluency
  • ‘Assistive’ technology and vocal agency
  • Mapping the brain: neurological perspectives
  • Visualising dysfluency
  • The cinematic voice


Submission Procedures:

Abstracts of no more than 500 words should be emailed by 10 September 2019 to Maria Stuart (maria.stuart@ucd.ie) and Daniel Martin (martind86@macewan.ca). Successful authors will be invited to submit either a 5000-8000 word article or a ‘Voicing’ to the editors by 10 December 2019. Practitioner-scholars who work in the areas outlined in the CfP are invited to contribute to the ‘Voicings’ section of the journal, which offers a platform for experimentation with non-conventional forms of dissemination, such as:

  • Practitioners’ reflections
  • Vocal scores and transcripts of music/sound/audio/multimedia artworks
  • Annotated interviews
  • Photographic essays
  • Excerpts of rehearsals, workshops, performances
  • Voice essays and blog-style contributions
  • Academic discussions of voice in the form of poetic scripts, libretti, mini lexicons, ethnographic notes
  • Voice-related documents and archives

Please visit http://www.intellectbooks.co.uk/journals/view-Journal,id=248/ for more information on the Journal of Interdisciplinary Voice Studies and for Notes for Contributors:



Editors’ bios:

Daniel Martin is an Assistant Professor in the Department of English at MacEwan University in Edmonton, Alberta, Canada. His work on Victorian literature and culture has appeared in The Journal of Victorian Culture, Victorian Review, Victorian Literature and Culture, and Blackwell’s Companion to Sensation Fiction. He has a forthcoming chapter on nineteenth-century dysfluencies in Bloomsbury’s A Cultural History of Disability series. 

Maria Stuart is an Assistant Professor in the School of English, Drama, Film and Creative Writing at University College Dublin, where she teaches nineteenth- and twentieth-century American literature. She is co-editor of The International Reception of Emily Dickinson and Ireland, Slavery, Anti-Slavery and Empire. She has published on the dysfluent poetics of Emerson and Dickinson, and Altered Auditory Feedback in The King’s Speech and the work of Alvin Lucier and Victoria Hanna.



Time and Performer Training (Routledge)

CIVS co-convener Dr Konstantinos Thomaidis co-edited the collection Time and Performer Training for Routledge (with Mark Evans and Libby Worth).

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.



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

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