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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.
List of contents
List of Contributors Acknowledgements Foreword by Josette Bushell-MingoIntroduction
Lisa Peck and Evi Stamatiou
PART ONE: Intersectional Methodologies and Critical Acting Pedagogies
1 Oppression and the Actor: Locating Freire's 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 University's 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
Zoë Glen
Afterword by Amy Mihyang Ginther
About the author
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.
Summary
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.
