Twelve Steps Toward an Anti-Discriminatory Approach to Neurodivergence in Actor Training

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.

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Michael Chekhov and Sanford Meisner: Collisions and Convergence in Actor Training

Journal of Theatre Dance and Performance Training ◽

10.1080/19443927.2021.1866886 ◽

2021 ◽

Vol 12 (1) ◽

pp. 127-129

Author(s):

Josephine Christensen

Keyword(s):

Actor Training

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

Theatre Research International ◽

10.1017/s0307883320000590 ◽

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.

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