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Diversities In Actor Training
Canada
Приєднався 15 сер 2015
This Diversities in Acting Training video module series gathers together a wide range of voices from across the Canadian theatrical landscape, all of whom work through various approaches to the questions above. Whatever their position, all of the authors affirm a common stance: in a world marked by complex and overlapping histories of inclusion and exclusion- where groups of individuals may often characterize other groups in a negative or positive way depending on each group’s position within the power structures of the day-the training of actors to represent the world on stages with care can play a key role in either maintaining or indeed challenging a frequently unjust status quo.
Diversities in gender and sexuality I: Histories of representation of gender in the theatre
In this video Kelsy explains the history of the erasure of women from stages and from theatre history in the West, and asks what the are the ethical realities of having women play in historical drama in the present.
www.brocku.ca/diversities-in-actor-training/diversities-in-gender-and-sexu/gender-sexuality-i
www.brocku.ca/diversities-in-actor-training/diversities-in-gender-and-sexu/gender-sexuality-i
Переглядів: 244
Відео
Diversities in gender and sexuality II: Gender minoritization in contemporary theatre practice
Переглядів 979 років тому
This video features Kelsy’s exploration of gender inequity in contemporary Canadian theatre practice and performance, including discussions of 1) the realities of LGBTQ theatre practioners, 2) of the absence of critical appraisal of historical plays when staging gender in the present, and 3) of the need to make our places of learning and training open to the realities of gender ‘non-conforming’...
Aesthetic Diversity in Theatre Introduction by Daniel Mroz
Переглядів 7869 років тому
Daniel provides context for our theatre’s tendency to embrace a ‘realistic’ aesthetic, and provides alternative perspectives on space, time and action by drawing on a variety of other-than-Western performance traditions. www.brocku.ca/diversities-in-actor-training/Aesthetic/aesthetic-i
Ethnic and cultural diversities I: Histories of representation of race in Canadian theatre
Переглядів 1279 років тому
In this video, Naila traces the high-stakes reality of storytelling as it relates to history. She argues that what some may take as the norm for theatre in Canada- a group of people performing in front of an audience of silent observers - is actually an inheritance of the settler-invader reality of ‘Canadian’ histories. She reminds us to pay attention, when we go to the theatre, to exactly whos...
Brecht and the Alienation Effect
Переглядів 39 тис.9 років тому
Laura undertakes a thorough exploration of the ways in which harnessing Brecht’s ‘alienation effect’ throughout acting training and creation can draw attention in the studio and onstage to the ‘constructedness’ of what may appeal to be ‘natural’ expressions of gender, sexuality, culture, ethnicity, ability, and so forth. brocku.ca/diversities-in-actor-training/brecht-and-the-alienation-effect
Representation in Contemporary Canadian Theatre
Переглядів 9449 років тому
Naila invites us to explore three plays as a way of engaging contemporary diversities in Canadian theatre: Where the Blood Mixes by Kevin Loring; Angélique by Lorena Gale; and Yichud by Julie Tepperman. Each of these texts approaches human difference in nuanced and meaningful ways that underscore the urgency and importance of dealing with such difference in an ethical and egalitarian way. www.b...
Ableism and diversities: The disabled body, actor training, and futures of inclusion
Переглядів 1419 років тому
Allison provides the context for understanding how disabled bodies have traditionally been represented in the theatre, and proposes ways for increasingly complex and sophisticated ways of understanding and portraying disabilities on stage.
Voice, Speech & Dialects: Diversities in vocal training
Переглядів 819 років тому
In this video, Paul explores how the voice provides access to the identity and difference of the speaker in intimate and immediate ways. He identifies challenges with inherited assumptions about the ‘naturalness’ of the human voice and provides strategies for understanding the voice in its cultural/social specificity.
Aesthetic diversities II: Collaborative creation or devised theatre training for actors
Переглядів 1609 років тому
In this video, Diana discusses collaborative or devised theatre and the role it can play in actor training-especially how it provides young artists the ability to create original and complex work that extends the more specifically technical part of their training. www.brocku.ca/diversities-in-actor-training/Aesthetic/aesthetic-ii
Diversities in gender and sexuality IV
Переглядів 209 років тому
Queer and trans performance strategies in contemporary Canadian theatre and performance In this video, Alex provides examples of a variety of different approaches to thinking about and creating performance work that problematizes inherited assumptions about queer bodies and provides space for the expression of queer and trans realities. www.brocku.ca/diversities-in-actor-training/diversities-in...
Diversities in gender and sexuality III:
Переглядів 749 років тому
With reference to specific exercises and techniques, in the video Conrad explores how to counter gender-based discrimination in actor training by supporting actors of diverse gender expression. He looks at the ways in which gender is a construction, indeed performance in its own right, and suggests ways and techniques of moving beyond certain types of neuro-muscular patterning that would otherw...
Ethnic and cultural diversities IV: Decolonizing movement: emerging paradigms & reconstruction
Переглядів 509 років тому
In this video, Michael examines the supposed ‘neutrality’ of a variety of Euro-American body training forms such as ballet, and proposes that movement training itself has been colonized by such inherited forms. He explores and argues for the possibilities of indigenous of movement practices to enable the decolonization of the body. brocku.ca/diversities-in-actor-training/ethnic-and-cultural-div...
Ethnic and cultural diversities III: ‘Project Other’
Переглядів 289 років тому
Nina tells the story of the development of her ‘Project Other’, initially undertaken at Humber College, and then at the National Theatre School, where students are asked to play characters of different ethnic and cultural backgrounds than their own. The complexities of appropriation versus the sensitive portrayal of cultural difference are discussed and practical solutions to thorny issues of r...
Further reading: 'Palindromes' by Todd Solondz and 'Im Not There' by Todd Haynes
nice name
Algorithm recommended! 🙃❤️
GCSE drama waaaaaaaaaaaaaaaaaaaa
Embody the anxiety. I like that. Lines up well with what I've learned about Carl Rogers' approach of "unconditional positive regard."
hi
Thank you Laura 🙏
Thank you. Really helped me in my A-Level Drama studies.
Your attempt to collude "feminism and 'gender' with Brechtian theory is creating a distancing effect with the general population. In other words, this is hokey baloney! Verfremdungs-effekt is a good way to take a step back and analyze the ways trendy ideas seep into mainstream culture. I suggest using the Brechtian effect to step back and scrutinize Western, white feminisms self indulgence. I suspect that it will play out as it always has, in the age old power play that's always existed between men and women. Western women, because of privilege and the extra time on their hands -- compared to women in the rest of the world, are trying desperately to insert dominance at work and in the boys club and not just at home in the bedroom as it has been from the beginning of time. It won't work ladies. Try, keep on trying. It won't work. It's called nature. And even in the attempt to usurp nature itself by capitalizing on the trend of millennial gender confusion, it will all play out as parody. At the end, absolute Truth will have it's say.
Thank you. This was very enjoyable and I learned a lot.
There’s so much information in this 20 min.
Great video! Thank you for making this great educational content available on UA-cam.
This was great! Thank you.
Read my book Bentley on Brecht
Read my book Bentley on Brecht
Read my book Bentley on Brecht
Lol. I get the feeling you wrote a book on Brecht?
Your characterization of Stanislavsky-based or Method oriented acting training studios as mandating cultural gender stereotypes demonstrates a gross misunderstanding of the training that is done. This appears to be, although I may be wrong and am merely supposing about your motives, an attempt to villainize an honest system of acting due to your childish discontent with anything that represents “the man” or “the system.” Your rebuttal would be to say that I am blind to the oppressive nature of capitalism (which on another note is not at all tied to naturalist or realist acting in the way you portray it as) or even worse, I am complacent in the evil of capitalism because I reap unfairly gained benefits as a straight, white, man. The need for political and social skepticism is absolutely valid, however you demonstrate an idiotic understanding of what social issues need to be addressed. Does realist theatre reinforce untrue expectations of gender roles, or is realist theatre meant as an extension of life, and life itself establishes our expectations of gender roles? All that realist, method acting is, is a portrayal of real life in an engaging manner that the audience sympathizes with; if you find this to be oppressive or problematic, then maybe the source of your discontent is the fact that reality cannot bend itself to be your picturesque Utopia.
Well said.
I agree with you that her examples to demonstrate the A-effect shows her dissatisfaction with "the system" or "the man". But I think she focussed on the negative effects of realism coz she wants to highlight the origins, the need that led to the creation of the A effect theory. Realism tries to sustain an illusion of reality, which is great to make you feel things, so agreat form of satiating escapism. But A-effect is supposed to disillusion. So it's meant to challenge your notions, make you uncomfortable. That doesn't invalidate the structures and their pervasive nature, just reminds you that there is a structure by highlighting the edifice that we take as real just because it's normal/natural. Reminding us of the somewhat disconcerting (but also liberating) fact that there are exceptions that does not follow this structure. There is a possibility of the "unnatural" to exist.
“Does realist theatre reinforce untrue expectation of gender roles, or is realist theatre ‘moment as an extension of life, and life itself establishes our expectations of gender roles?” But your doing exactly what she said, your making a claim to naturalness to reinforce the established regime. The established regime is not necessarily capitalism, but rather how normative constructions of reality are in fact constructed i.e. realism that does not critically analyze why IT is realism. We don’t have to jump far from the historical conditions of Stanislavsky to see what lengths THIS regime of realism will go to keep its power. Meyerhold was a student of Stanislavsky, “take care of Meyerhold, he is my sole heir in the theatre.” He was run out by the soviet government for creating formalist work that coincides pretty immediately with the a-effect. But the Soviet government didn’t want work to question its power, so they exiled and eventually executed him. This normative regime, that seems to coincide with capitalism, is more interested in power, and it’s consolidation via a chain of command or hierarchy. This is precisely the problem that she refers to as “naturalization” or how the actor can inadvertently uphold stereotypes, even if their intent was to criticize them. There’s no need to disabuse your self, if you think Satanislavskian-Method acting is a true revolutionary force, go ahead and experiment. It seems to me that you watched up and to the point where she made one critique of Stanislavsky and you paused and wrote this comment, disregarding the next 15 minuets where she conceptualizes and deepens why she thinks this criticism is valid.
It is not called 'Alienation Effect'. It's called Verfremdungseffekt.
Very interesting
Please spell "Fascism" correctly.
Fuckisem?
thanks
An excellent presentation, Thank you! If I understand anything about what you discussed I think I recognize moments in some theatrical productions that have stayed with me that were more compelling because even though I had seen the play before there was a moment where I hoped it would turn out differently. (One very long sentence that one) When Brian Dennehy played Willy Loman in the anniversary production of "Death of a Salesman" it's the moment when Willy no longer bound by reality is about to get into his car and have the accident that will kill him. I was one of the people watching the play who wanted to jump up and yell, "Willy, you idiot, don't do it!" and Dennehy brings his finger to his lips in a gesture of "don't break the silence, people are sleeping."
Longest 20 min of my life lol
Thank u
Wonderful presentation!
Thank you!
Thanks