Royal Central School of Speech and Drama
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Critical Costume: A Conference and Exhibition where Theory and Practice Come Together
No full textAn event review of Critical Costume: A Conference and Exhibition where Theory and Practice Come Together
Review: Sponge at the Barbican Barbican Pit 13th - 21st December 2016
No full textSquishy, pulpy, squelchy, flabby: Diana Damian Martin reviews Turned On Its Head’s show for babies and toddlers
Nando Messias: Homophobia, Marching Bands and the 'Sissy's Progress'
No full textWhile some try to find their voice, Nando Messias has discovered his walk. Ahead of his performance ‘The Sissy’s Progress’ at Toynbee Studios, he discusses his experience of homophobic violence – and why he will not be silenced
Critics in Conversation
No full textCritics in Conversation is a collaboration between Anette Therese Pettersen (NO) and Diana Damian Martin (RO/UK) that explores ways in which criticism can be a public process of debate and discussion.
Taking place through three festival partnerships, and working with Nina Skogli, Critics in Conversation also reflects on the changing scope of criticism in the temporary community created by festival culture.
Critics in Conversation is supported by Norsk kulturråd and Fritt Ord, and the project has previously in 2017 visited Stamsund Teaterfestival, Ravnedans and Sand Festival
The Energetic Performer: An Integrated Approach to Acting for Stage and Screen
No full textA new approach to actor training by a senior teacher, this illustrated manual shows how to use the body to produce rich, varied and truthful performances. The approach, rooted in the Michael Chekhov Technique, integrates ancient Qigong knowledge with somatic psychology and western actor training methods to identify the links between physical shape, emotion and feeling in performance. Supporting and illustrating the text, extensive practical exercises developed through actor training classes provide techniques to tune and adapt the body in preparation for creative work.
This book will enhance your understanding of the actor's craft, offering the opportunity to grow and advance your pre-existing skills. Warm ups and sequences of exercises will enable you to implement and fully understand this innovative approach. All of the work can be applied to live and screen performances
Being an Actor/Becoming a Trainer: The Embodied Logos of Intersubjective Experience in a Somatic Acting Process
No full textBeing an actor / becoming a trainer: the embodied logos of intersubjective experience in a somatic acting process
This practice-as-research thesis documents a sustained period of research grounded in my experience as an actress who has become an actor-trainer within UK-based actor-training institutions. It explores the development of an original somatic actor-training methodology within different theatre teaching and performing environments. This research concentrates on challenging dualistic binaries of mind-body, inner-outer, self-other and the universalizing of the individual actor’s experience as problematic logocentrism in Stanislavski-inspired actor-training traditions. It is informed in practice by Linda Hartley’s IBMT (Integrative Bodywork and Movement Therapy) somatic approach, which is based upon Bonnie Bainbridge Cohen’s Body-Mind Centering® (BMC®) principles. I suggest the practical modification of Cohen’s developmental process of embodiment in the actor-training context through the shaping of contingent, processual and intersubjective/intercorporeal explorations which I coin as fluid structures.
Rooted in the interconnection of theory and practice, or praxis, this thesis is based upon the original notion of each actor's embodied logos. This term is inspired by Merleau-Ponty’s theoretical understanding of logos as flesh that allows the perception of logos as an embodied and intersubjective experience. An emergent new somatic actor-training pedagogy contributes to contemporary actor-training practices and languages revisiting the dialogue between the actor and the trainer through the innovative intersubjective role of the trainer-witness and the relationally aware actor-mover/actor-witness. Following this processual study I articulate and respond to thorny ethical issues in actor training regarding emergent dissonances between therapy and training, training and rehearsal/performance processes, the trainer and the director, the edges of actors’ emotional expression and sense of freedom
Teaching Performance Art in Violent Times
No full textUntil recently, I taught performance art in Higher Education institutions in England. The following is a collection of notes on my role and its responsibilities, organized to effectively communicate creative solutions to various problems I encountered. I hope this short text will contribute to some of the needs of performance arts practitioners – both individuals and teams – and will facilitate the further development of a healthy and safe artistic and educational community