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Actor Training in Anglophone Countries offers a firsthand account of the most significant acting programs in English-speaking countries throughout the world. The culmination of archival research and fieldwork spanning six years, it is the only work of its kind that studies the history of actor training from an international perspective. It presents the current moment as crucial for student actors and those who teach them. As the profession continues to change, new and progressive approaches to training have become as urgent as they are necessary.
Using drama schools and universities as its subjects of inquiry, this book investigates acting programs in the UK, Ireland, the US, Canada, Australia, and New Zealand. Among the case studies are the Royal Academy of Dramatic Art, National Theatre School of Canada, Western Australian Academy of Performing Arts, and Carnegie Mellon University. All recognized for their distinguished reputations by industry professionals and acting teachers alike, the book examines each program's pedagogical approach, administrative structure, funding apparatus, and alumni success. In doing so, it identifies the challenges facing acting schools today and offers a new direction for training in the twenty-first century.
Actor Training in Anglophone Countries will be of interest to theatre and performance scholars, artists, students, and teachers.
Sommario
List of Figures, Foreword (By Baron Kelly), Preface, Acknowledgements, Chapter 1 The State of Actor Training Today: An Introduction , Chapter 2 The Paternal Model: Training in the United Kingdom and Ireland, Chapter 3 The Commodified Model: Training in the US and Canada, Chapter 4 The Postcolonial Model: Training in Australia and New Zealand, Chapter 5 Back to the Future: Towards a Diverse, Equitable, and Inclusive Model, Bibliography, Appendix
Info autore
Peter Zazzali is Senior Lecturer in Acting and Director of the BA (Hons) Acting Program at LASALLE College of the Arts in Singapore.
Riassunto
This book offers a firsthand account of the most significant acting programs in English-speaking countries throughout the world. In doing so, it identifies the challenges facing acting schools today and offers a new direction for training in the twenty-first-century.
