Alternative Way of Actor Training Examined by Enactive Cognition

2021 ◽  
Vol 23 ◽  
pp. 117-140
Author(s):  
Kon Yi ◽  
Keyword(s):  
Actor Training ◽  
Enactive Cognition

David Fancy, Et Al. Diversities in Actor Training.

2017 ◽  
Vol 38 (1) ◽  
pp. 134-136
Author(s):  
Emily A Rollie
Keyword(s):  
Actor Training

scholarly journals Crisis Management in Higher Education in the Time of Covid-19: The Case of Actor Training

2021 ◽  
Vol 11 (3) ◽  
pp. 132
Author(s):  
Anna McNamara
Keyword(s):  
Higher Education ◽  
Crisis Management ◽  
High Frequency ◽  
High Reliability ◽  
Actor Training ◽  
Management Actions ◽  
The Usa ◽  
The Uk ◽  
The Impact ◽  
High Frequency Words

The impact of Covid-19 placed Higher Education leadership in a state of crisis management, where decision making had to be swift and impactful. This research draws on ethea of mindfulness, actor training techniques, referencing high-reliability organisations (HRO). Interviews conducted by the author with three leaders of actor training conservatoires in Higher Education institutions in Australia, the UK and the USA reflect on crisis management actions taken in response to the impact of Covid-19 on their sector, from which high-frequency words are identified and grouped thematically. Reflecting on these high-frequency words and the thematic grouping, a model of mindful leadership is proposed as a positive tool that may enable those in leadership to recognise and respond efficiently to wider structural frailties within Higher Education, with reference to the capacity of leaders to operate with increased mindfulness, enabling a more resilient organisation that unlocks the locus of control.

Culture, Identity and Actor Training: Indigeneity in New Zealand's National Drama School

2021 ◽  
Vol 46 (1) ◽  
pp. 70-88
Author(s):  
PETER ZAZZALI
Keyword(s):  
National Identity ◽  
Indigenous Peoples ◽  
Actor Training ◽  
Cultural Traditions ◽  
Fulbright Scholar ◽  
Ethnographic Methodology

How can indigeneity be understood through training actors in a colonial context? Do ‘Western’ acting schools misrepresent and exploit indigenous practices and cultural traditions towards reinforcing the settler state? Or does a given school's integration of such praxis and customs demonstrate inclusivity, equity and progressivism? At what point does incorporating indigeneity in actor training become a tokenistic appropriation of marginalized cultures? Drawn from fieldwork as a 2019 Fulbright scholar at Toi Whakaari, New Zealand's National Drama School, I intersect training with culture and society. Using the Acting Program as a case study, I deploy an ethnographic methodology to address the aforementioned questions by investigating Toi Whakaari's bicultural pedagogy while positioning it as a reflection of New Zealand's national identity. I especially explore the school's implementation of Tikanga Māori, the practices and beliefs of the country's indigenous peoples. I argue that while some questions remain, Toi Whakaari integrates Māori forms in a manner that is culturally responsible and pedagogically effective, thereby providing a model from which other drama schools can learn.

Innovative Spirit at the Heart of Theatre Studies

2005 ◽  
Vol 21 (3) ◽  
pp. 203-204
Author(s):  
Baz Kershaw
Keyword(s):  
Actor Training ◽  
Stage Management ◽  
Theatre Studies ◽  
International Standing

Clive Barker made an exceptional contribution to British theatre studies and its international standing. No one else of his generation travelled the extraordinary distance from a conventional stage-management course to become a world leader in actor training workshops, as well as an editor and scholar of distinction. He was a pioneer in bridging the uneasy divide between the professional theatre and its serious study in British universities.

scholarly journals Tecendo relações entre sentido e não-sentido na cognição enativa

2020 ◽  
Vol 53 ◽  
pp. 1-13
Author(s):  
Renata Fischer da Silveira Kroeff ◽  
Póti Quartiero Gavillon ◽  
Cleci Maraschin
Keyword(s):  
Sense Making ◽  
Enactive Cognition ◽  
Making Sense

Neste artigo, discutimos a definição de não-sentido e sua relação com a produção de sentido na teoria enativa da cognição. Tomamos como ponto de partida a publicação “Enactive Cognition at the Edge of Sense-Making: Making Sense of Non-Sense”, organizada por Massimiliano Cappuccio e Tom Froese, por ser uma obra pioneira em relação ao tema. A importância da produção de sentido para a relação entre percepção e ação é abordada a partir de diferentes aspectos. Discutimos as proposições centrais das teorias da autopoiese e da enação, a partir das quais são produzidas três formas de compreender o não-sentido segundo uma perspectiva enativa. Nessas três abordagens, os autores contemporâneos sugerem que o não-sentido se constitui como elemento intermediário ou mediador em processos de produção de sentido. Por fim, discutimos a relação entre não-sentido e sentido, sugerindo uma articulação entre os domínios sensório-motor e linguístico a partir de uma definição não antagônica de saber-sobre e saber-fazer.

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