Critical Acting Pedagogy invites readers to think about pedagogy in actor training as a research field in its own right: to sit with the complex challenges, risks, and rewards of the acting studio; to recognise the shared vulnerability, courage and love that defines our field and underpins our practices.
Critical Acting Pedagogies offers an overview of current efforts of selected artist/pedagogues from the UK, the US and Oceania who work with critical pedagogy and intersectional approaches. This collection seeks to reorientate understanding of knowledges in the field and to disseminate concrete examples of best practice. Bringing this work together in one volume maps the fields current engagement with Critical Acting Pedagogies. It shares approaches that decolonise and decenter the curriculum, working with an increasingly diverse population of students, with multiple and intersecting identities, in ways that acknowledge intersections but do not state equivalence. Authors recognise pedagogy as a research field in its own right and offer a variety of approaches. Sections include: intersectional methodologies, intersectional curriculums, inclusive casting and inclusive assessment. This collection will be of great interest to conservatoire and university-based actor trainers, scholars and researchers of actor training and policymakers that work to decolonise and decentre their teaching materials, curricula and relevant policies.
List of Contributors
Acknowledgements
Foreword by Josette Bushell-Mingo
Introduction
Lisa Peck and Evi Stamatiou
PART ONE: Intersectional Methodologies and Critical Acting Pedagogies
1 Oppression and the Actor: Locating Freires Pedagogy in the Training Space
Peter Zazzali
2 Playing with Difference in Actor Training: A Method to Transform Policy
into Pedagogy
Kristine Landon-Smith and Chris Hay
3 Cultivating the Reflexive Practitioner in the Performance Studio: An
Intersectional Approach
Valerie Clayman Pye
4 Critiquing from the Centre: Challenging Breath Pedagogies within Dominant
British-centric Voice Training
Denis Cryer-Lennon
5 Training Actors Voices and Decolonising Curriculum: Shifting
Epistemologies
Stan Brown and Tara Mcallister-Viel
PART TWO: Approaches to Scene Study as Cultural Intersectionality
6 Reconsidering the Link between Text, Technique and Teaching in Actor
Training
Sherrill Gow
7 Liberating Casting and Training Practices for Mixed-Asian Students
Amy Rebecca King and Robert Torigoe
8 Liminal Casting: Self-Inquisitive Scene Study in Actor Training
Evi Stamatiou
PART THREE: Structural Intersectionality in Values and Assessment
9 We Can Imagine You Here: Acknowledging the Need and Setting the Stage for
Multi-layered Institutional Adaptation at Yale Universitys School of Drama
Jennifer Smolos Steele
10 Complex Movements for Change: A Case Study
Niamh Dowling
11 Developing a Social Justice PWI Acting Studio through
Equitable Assessments
Elizabeth M. Cizmar
12 Singing Pedagogy for Actors: Questioning Quality
Electa Behrens and Oystein Elle
PART FOUR: Interpersonal Intersectionality: Learning Edges
13 Developing the Actor Trainer: Welcome, Trust, and Critical Exchange
Jessica Hartley
14 Scaffolding Consent and Intimacy in the Acting Classroom: Bridging the Gap
between Learning and Doing
Joelle Ré Arp-Dunham
15 A Neurocosmopolitan Approach to Actor Training: Learning from
Neurodivergent Ways-of-doing
Zoė Glen
Afterword by Amy Mihyang Ginther
Lisa Peck is Senior Lecturer in Theatre and Performance Practice at the University of Sussex. Her research interests include actor training, theatre-making pedagogies, women in theatre, critical pedagogies, and site-based performance.
Evi Stamatiou is Senior Lecturer and Course Leader of the MA/MFA Acting for Stage and Screen at the University of East London. She is a practitioner-researcher of actor training with two decades of international experience as an actor and creative.
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