A visual note on Actor Training – part II

Symposium "Actor Training." (2) © Thomas Martius

Symposium “Actor Training.” (2) © Thomas Martius

Over the course of the symposium, students and teachers from the Intercultural Theatre Institute (Singapore), the University of Music and Performing Arts (Frankfurt/Main), the University of the Arts (Berlin), the Ernst Busch Academy of Dramatic Art (Berlin), and the Natanakairali – Research, Training and Performing Centre for Traditional Arts (Kerala, India) met to explore the following questions:

How do we think and talk about actor training? What skills, capabilities, intelligences, and/or aesthetics are developed and passed on through specific training methods and their concomitant discourses? What models and paradigms frame particular cultural modes of psychophysical training? What new insights are offered when we consider actor training inter-culturally and/or from interdisciplinary perspectives? What transpires when well established approaches to actor training ‘meet’ with approaches from different cultural contexts within a specific actor training program? What transpires in the body-minds of students? What are the perspectives of the teachers? What are the (discursive and embodied) ‘alchemies’ of these meetings? What are the un/stated aims and performative results of such encounters? What is formed and/or transformed in these processes of meeting between actor training cultures? Are discourses, processes, and embodiment transformed? Why and how do these processes of transformation take place––and with what (aesthetic, cultural, ethical, political) effects? What are the actor/performer training methods of the future? What (institutional, intra/inter-cultural, economical, geographical) issues stand in the way of re-forming or re-framing established actor training methods?

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