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محتوای ارائه شده توسط Robert Price. تمام محتوای پادکست شامل قسمتها، گرافیکها و توضیحات پادکست مستقیماً توسط Robert Price یا شریک پلتفرم پادکست آنها آپلود و ارائه میشوند. اگر فکر میکنید شخصی بدون اجازه شما از اثر دارای حق نسخهبرداری شما استفاده میکند، میتوانید روندی که در اینجا شرح داده شده است را دنبال کنید.https://fa.player.fm/legal
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Know What You See with Brian Lowery
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In this episode, comedian and tea enthusiast Jesse Appell of Jesse's Teahouse takes us on a journey from studying Chinese comedy to building an online tea business. He shares how navigating different cultures shaped his perspective on laughter, authenticity, and community. From mastering traditional Chinese cross-talk comedy to reinventing himself after a life-changing move, Jesse and host Brian Lowery discuss adaptation and the unexpected paths that bring meaning to our lives. For more on Jesse, visit jessesteahouse.com and for more on Brian and the podcast go to brianloweryphd.com.…
The History of Actor Training in the British Drama School.
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محتوای ارائه شده توسط Robert Price. تمام محتوای پادکست شامل قسمتها، گرافیکها و توضیحات پادکست مستقیماً توسط Robert Price یا شریک پلتفرم پادکست آنها آپلود و ارائه میشوند. اگر فکر میکنید شخصی بدون اجازه شما از اثر دارای حق نسخهبرداری شما استفاده میکند، میتوانید روندی که در اینجا شرح داده شده است را دنبال کنید.https://fa.player.fm/legal
An investigation into the development and trajectory of actor training in the United Kingdom.
…
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56 قسمت
علامت گذاری همه پخش شده(نشده) ...
Manage series 2847563
محتوای ارائه شده توسط Robert Price. تمام محتوای پادکست شامل قسمتها، گرافیکها و توضیحات پادکست مستقیماً توسط Robert Price یا شریک پلتفرم پادکست آنها آپلود و ارائه میشوند. اگر فکر میکنید شخصی بدون اجازه شما از اثر دارای حق نسخهبرداری شما استفاده میکند، میتوانید روندی که در اینجا شرح داده شده است را دنبال کنید.https://fa.player.fm/legal
An investigation into the development and trajectory of actor training in the United Kingdom.
…
continue reading
56 قسمت
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The History of Actor Training in the British Drama School.
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In which we think about Drama Schools and University Drama Departments and work our way through ‘Falling Off A Wall: Degrees of Change in British Actor Training’ Ben Frankombe's essential paper on the History of Actor Training between the 1970s and the early 2000s. Support the show
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The History of Actor Training in the British Drama School.
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1 East 15 at Sixty. The first two years. Philip Hedley. 1:25:30
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In which we discuss how Philip Hedley came to join the first cohort of East 15 Acting School in the autumn of 1961 and examine something of the complex relationship between the school, it’s founder Maggie Bury and the work of Joan Littlewood’s Theatre Workshop. The cover shows the blue plaque which celebrates Margaret Bury and Joan Littlewood outside of East 15’s Loughton campus. Support the show…
In which we celebrate the Sixtieth Birthday of East 15 in the first of two special podcasts. The cover shows blossom in the grounds of the Debden campus earlier this year. Support the show
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The History of Actor Training in the British Drama School.
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1 Andrei Biziorek : Nicolai Demidov and The Pedagogy of the Future. 1:27:21
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In which we discuss Nicolai Demidov and his School of Acting with Andrei Biziorek of the Demidov Studio London. Links for the London studio and the Demidov Association can be found here : The studio: www.demidovstudiolondon.uk The association: www.demidovassociation.com Support the show
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The History of Actor Training in the British Drama School.
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In which we prepare for a new term by reading Chapter 8 of Nicolai Demidov’s book ‘The Art of Living Onstage From a Theatre Teacher’s Laboratory Translated by Andrei Malaev-Babel and Alexandra Rojavin. The studio: www.demidovstudiolondon.uk The association: www.demidovassociation.com Support the show…
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The History of Actor Training in the British Drama School.
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1 Ita O'Brien. Developing an ethical approach to intimate content. 1:36:31
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In which we discuss the career of teacher and intimacy coordinator Ita O’Brien and understand why Michaela Coel chose to thank Ita for her work when she won the leading actress award at the 2021 Baftas. These are some of the intimacy on Set guidelines discussed in the podcast. Intimacy on Set Guidelines Best practice when working with intimacy, simulated sex scenes, and nudity Producers to Identify whether a production may include scenes of intimacy and sexual content as part of the risk assessment; ensure that relevant departments are informed and necessary measures put in place: a. Put in place wardrobe - appropriate covering for genitalia b. crew required for a closed set C. consideration of, and budget for, an Intimacy Coordinator. No initial auditions or screen tests are to include sex scenes or to involve nudity. Where, in exceptional circumstances, nudity or semi-nudity is required in a recall, the actor must be informed in advance and provided with the script. All material recorded must be protected and be destroyed once the role has been cast. a. The actor to sign a written agreement with the Casting Director that any recording of a nude or semi-nude audition will be confidential. b. The actor may be asked to audition in specific clothing (e.g. swimwear) required for a commercial but will be informed in advance. c. If an actor is nude or semi-nude in a recall, they may bring a support person to be with them throughout the shoot. d. The only other people allowed to be present in the audition room will be the Casting Director and/or Director/Producer, and the Reader. At point of contract all scenes involving nudity, intimacy, or simulated sex to be discussed with the actor and representative/agent, so that agreement is made with full disclosure. a. The standard Equity contract for screen productions allows the actor to agree, or disagree, to performing nude and to performing simulated sex and to choose the type of nudity the actor is willing to do (e.g. buttocks only, or full frontal). b. Actors sometimes accept a role in which their character will be semi-nude, only to find later that additional scenes have been written into the script which include full frontal nudity and simulated sex. Actors should not sign a contract for full frontal nudity and simulated sex if only prepared to go semi-nude. Directors to plainly describe and discuss with the relevant actors all scenes involving intimacy, simulated sex, and nudity at the appropriate times in the creative process: a. Before signing the contract b. Throughout the rehearsal process c. And into performance Agreement and consent by the actor, and actors’ representative, to be given each and every time when working with intimacy, simulated sex scenes, and nudity. Establish boundaries around areas of concern, including an agreed strategy to halt the action where necessary, in rehearsals and filming on set, such as ‘time out’. When sculpting intimacy or a simulated sex scene, for the actor and director, or the actor and director in conjunction with an Intimacy Coordinator, to follow the Intimacy On Set Guidelines as standard practice, a. To always have a third party present, keeping the work professional, not private b. Identify the blocking of the scene c. Agree areas of physical touch d. Sculpt the physical actions using plain words e. Separately identify the emotional content of the scene f. Integrate the physical actions and emotional content, creating a seamless intimate scene Support the show…
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The History of Actor Training in the British Drama School.
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In which we discuss the professional life of Penny Cherns. Penny trained on the Directors’ Course at the Drama Centre after completing a sociology degree at the University of Kent at Canterbury. She worked as Joan Littlewood’s assistant and then continued as a freelance director up to the Millennium in major provincial repertory theatres directing classics, modern plays and musicals. She was also Associate Director at Chester, Watford and Nottingham Playhouse and worked at the RSC, the Royal Court and the New End theatres . She directed dramas for the BBC and Channel 4 television. Abroad she directed in Barcelona (in Spanish and Catalan) and for the British Council in India and South America. She has taught international workshops in Amsterdam, Barcelona,Buenos Aires, Oslo, Brazil and Uruguay; has taught and directed in America at Brandeis, Juilliard, Yale and the University of Iowa, and in England at LAMDA, RADA, Drama Centre and the Guildhall. She gained an MSc in European Studies from the LSE and conducts Conflict Resolution workshops. She created and led the MA in classical acting for LAMDA until 2020 She recently directed at the Schoolhouse Theater in Connecticut and ACT theater in Seattle. And directed The Tempest at Teatro San Martin Buenos Aires Penny is a senior fellow of the higher education authority and has acted as external examiner for Loughborough, BSSD and Mountview Academy. Support the show…
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The History of Actor Training in the British Drama School.
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1 John Beschizza and Annie Tyson discuss Doreen Cannon. 1:21:57
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In which we talk about Doreen Cannon. One of the most important figures in the history of British Actor training. With very special guests Annie Tyson and John Bechizza. John Beschizza John is the Lead Acting Tutor at Rada and teaches Acting Technique and Scene Study on the BA (Hons). RADA. He trained at The Drama Centre under co-founders Christopher Fettes, Yat Malmgren and the legendary Acting Tutor and first Head of Acting, Doreen Cannon – three of the most innovative and rigorous theatre practitioners and teachers of the 20th century. The challenges of training at the Drama Centre were immense; the rewards were life-changing. It was here that some of the greatest discoveries were made under the guidance of Doreen, who as Head of Acting at RADA in 1994 offered John the opportunity to teach Acting at RADA. The techniques he provides are simple, clear and specific and when fully engaged evoke a visceral gut, heart and head understanding of the acting process. He works for one goal: to guide the actor-trainee into transforming their raw, instinctive talent into real, dependable skill. John maintains a standard of excellence in his work, evident through the specificity and rigour of his teaching. Over 27 years, this has developed into a highly practical way of working that serves the ever-changing requirements and challenges of today’s industry. Annie Tyson ANNIE TYSON Annie read Drama and Theatre Arts at Birmingham University before training at Drama Centre London where Doreen Cannon was amongst her teachers. She worked as an actor in regional theatre, in London and in TV and radio. Recent acting work has included work at the Octagon Theatre Bolton in Arthur Miller’s The Last Yankee, the White Bear Theatre in An Honourable Man and the Park Theatre in Hell Yes, I’m Tough Enough. At Drama Centre London she was Course Director of the BA Honours Acting Course 2002-2010. Her public productions there included All’s Well That Ends Well, Wild Oats, Mary Stuart, A Laughing Matter, Love’s Labours Lost, Richard III, The Winter’s Tale, The Second Mrs Tanqueray, Mother Courage. She continued as an acting tutor and director there until Spring 2018 while also working at RADA. She directed Love For Love in the Vanbrugh theatre in 2013and Strange Orchestra in 2017. She directed Macbeth February 2020. She was part of the core team for the Royal Shakespeare Company’s project Open Stages, running acting workshops for Dream 16 – A Play For the Nation . She has given masterclasses in Restoration Comedy at the Carnegie Mellon School of Drama where she directed The Rivals in 2012. She has contributed to the book Approaches to Actor Training and her book for the Crowood Press, Successful Auditions will be published next spring. She is writing for the next series of Arden Performance Handbooks for Bloomsbury Methuen: Shakespeare and Stanislavsky. She regularly gives both classical and contemporary audition workshops for The Mono Box of which she is a Patronand is an Open Door mentor. Support the show…
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The History of Actor Training in the British Drama School.
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The History of Actor Training in the British Drama School.
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1 Marowitz at Lamda in 1956. Callow at The Drama Centre 1970 and a brief history of the Ds. 1:06:33
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In which we compare two experiences of the British Drama School and prepare for conversations about Doreen Cannon. Support the show
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The History of Actor Training in the British Drama School.
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In which we read John Gielgud’s views on Stanislavsky. From January 1937. Support the show
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The History of Actor Training in the British Drama School.
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This episode includes an extract from Vladimir Mirodan’s excellent paper The first class: Harold Lang and the beginnings of Stanislavskian teaching in the British conservatoire. Support the show
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The History of Actor Training in the British Drama School.
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1 Stanislavsky and Benedetti : A history of the Hapgood translation. 1:06:21
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In which we discuss Jean Benedetti; Rose Bruford and Lamda’s recent NSS results and why Stanislavsky really wrote his books. Support the show
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The History of Actor Training in the British Drama School.
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In which we read Saint Denis’ essay on the application of the Stanislavsky approach, and it’s American interpretation as the method, to the plays of Shakespeare…and perhaps understand something about the ideas underpinning the teaching at the LTS and the Old Vic School. The image is of Susanne Bing as Viola. Support the show…
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The History of Actor Training in the British Drama School.
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The History of Actor Training in the British Drama School.
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In which a special guest tells us the story of how a young Chinese Couple became amongst the tiny number of people who studied at the London Theatre Studio in Islington just before the outbreak of the Second World War and of how they brought the ideas and pedagogy of Copeau and Suzanne Bing to the People’s Republic of China. Support the show…
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The History of Actor Training in the British Drama School.
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In which we look to understand something about the nature of the London Theatre Studio the school founded by Michel Saint Denis in a disused Methodist Chapel in Islington in 1936. Cover picture is of a woolwork by Merula Salaman an actor at the LTS. Sophie Jump's PhD can be found here : https://ualresearchonline.arts.ac.uk/id/eprint/9194/1/Sophie%20Jump%20PhD%20thesis%20FINAL%2027%20Jan%2016.pdf Support the show…
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The History of Actor Training in the British Drama School.
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In Memoriam Oliver Neville 1929 - 2021. Rada's Principal from 1984 to 1993. Support the show
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The History of Actor Training in the British Drama School.
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The image is of candidates for the Academy of Dramatic Art auditioning in 1911. Support the show
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The History of Actor Training in the British Drama School.
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1 Tanmay Dhanania. An international student at Rada. 1:17:21
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Tanmay Dhanania is an actor. He studied Nuclear Engineering at UC Berkeley and then trained as an actor at the Royal Academy of Dramatic Art. He has acted in UK tv shows like New Tricks for the BBC, Indian Summers for Channel 4 and The Durrells in Corfu for itv. He has also acted in and produced independent films like Brahman Naman which premiered in competition at Sundance 2016 and became India's first Netflix Original and Garbage which premiered in the Panorama section of the Berlinale 2018 and also was acquired by Netflix. Tanmay acted in and produced the film Cat Sticks which won the Jury Award at the Slamdance Film Festival 2019 and is currently on MUBI. Tanmay is also a theatre maker and artist and has acted in stage productions and taught theatre around the world. He has a green belt in Goju Ryu karate, and loves animals, travelling and playing the flute. Support the show…
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The History of Actor Training in the British Drama School.
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1 Sarah Thorne's School of Acting in Margate 1885 - 1899 1:03:10
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An investigation into the only consistently successful institutional actor training of the 19th Century: Sarah Thorne’s Theatre Royal in Margate including an account of Winnifred Dolan’s training there in 1890. Support the show
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The History of Actor Training in the British Drama School.
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1 What training - for What Theatre...the view from 1995. 1:07:50
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In this episode we revisit Clive Barker’s essay from 1995: What Training - for What Theatre? And wonder how far we have come in the intervening 27 years. Support the show
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The History of Actor Training in the British Drama School.
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1 Michael Balogun and Rada; an actor's journey. 1:00:59
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A conversation about acting and training, choices and chances with the actor Michael Balogun, who graduated from Rada in 2017. Support the show
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The History of Actor Training in the British Drama School.
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1 Training in the drama school. Liberation or oppression? A round table conversation between Sarah Weston, Naz Yeni, King Boateng, Che Francis, Isabella Verrico and Robert Price. 1:58:45
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Isabella Verrico, King Boateng, Naz Yeni, Che Francis and Robert Price participate in a conversation about the possibilities and risks of training in the Drama School recorded on Saturday 27th April 2021. The discussion was facilitated by Dr. Sarah Weston of The University of Bolton. Sarah is a Lecturer in Theatre and Performance specialising in applied and community theatre, devised theatre and voice. She is also a theatre practitioner and playwright who works in community settings across the North West of England. She is co-director of Salford Community Theatre. She graduated from the University of Leeds in 2018 with her PhD entitled ‘Political Voice as Embodied Performance: young women, politics and engagement.’ Previous to this she studied MA Applied Theatre at the University of Manchester and BA Drama with Philosophy at Royal Holloway University of London. She is a Coordinator for the TAPRA Performer Training Working Group as well as Co-Editor of the Theatre Dance and Performance Training Blog. She has published in Research in Drama Education: The Applied Theatre Journal, Theatre Dance and Performance Training, The Journal for Interdisciplinary Voice Studies, and The Journal for Deliberation. King Boateng is an Actor and Lamda graduate represented by United Agents. Naz Yeni is a theatre maker, researcher and lecturer and a graduate of the Birmingham School of Speech and Drama. Isabella Verrico is an actor and graduate of Lamda's two year training (curently an MFA) Che Francis is an actor and graduate of Lamda's two year training. Please feel free to contact robert at robertprice1869@gmail.com to continue the conversation. Support the show…
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The History of Actor Training in the British Drama School.
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As we move towards a kind of deregulation of Actor training we establish the relationship between the CDD and NCDT find out how they relate to the Gulbenkian Report and discover what happened to Drama UK. Support the show
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The History of Actor Training in the British Drama School.
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1 The Institute for Contemporary Theatre. A new movement in the training of actors. 1:02:20
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In this episode we discuss new models and ideas for the training of actors with Principal Thomasina Unsworth and Head of Acting Phillip Edgerley of Brighton's new Institute for Contemporary Theatre. Support the show
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The History of Actor Training in the British Drama School.
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1 Ben Naylor: Why do Shakespeare? 1:45:44
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In a conversation with Ben Naylor we discuss acting Shakespeare, beyond concerns with metre and prosody, along with exploring the place and status of post graduate courses within the conservatoire. Ben Naylor is Senior Lecturer and Course Leader MA Acting Classical at The Royal Central School of Speech and Drama. Support the show…
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The History of Actor Training in the British Drama School.
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1 Ros Steen and the voice work of Nadine George. Tradition and Evolution. 1:25:59
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A conversation with Professor Ros Steen. Professor Ros Steen FRCS. MA. DSD. IPA. Ros Steen has worked as a Voice specialist for Theatre, Film and TV for over thirty five years with more than two hundred and fifty credits to her name including work for, among many others, the National Theatre of Scotland , Edinburgh International Festival , Citizens’ Theatre , Traverse Theatre , Royal Lyceum , Dundee Rep and Leeds Playhouse . She is an Emeritus Professor of the Royal Conservatoire of Scotland where she led the Centre for Voice in Performance establishing Nadine George Voice Work, with its emphasis on the unique connection between an individual and their voice, as the core spoken technique in the training of actors and performers. One of the first accredited teachers of the technique she has spent many years pioneering its use as a medium of professional rehearsal practice. She was the first Visiting Scholar to the Radcliffe Institute for Advanced Study at Harvard University where she worked with the multi-award winning director John Tiffany. Landmark productions include Alan Cumming’s Macbeth (UK and Broadway) and BlackWatch (National Theatre of Scotland) as well as the premières of plays by David Harrower, David Greig, Linda Mclean, Rona Munro and Nicola McCartney, among others. In 2019 she gave a joint presentation with writer A.L.Kennedy to the Akademie de Kunst in Berlin on the connection between the voice work and writing. Since leaving RCS she has continued to work on productions in and outside Scotland as well as giving master classes and workshops nationally and internationally for a variety of creative practitioners. She is the Editor of Growing Voices: Nadine George Technique – the Evolution of its Influence in Training and Performance and has published several research papers about her work. She is currently a director of Voice Studio International and an Associate Editor of the International Dialects of English Archive. Support the show…
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The History of Actor Training in the British Drama School.
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1 The meaning of ensemble in the History of British Theatre. Phillipa Burt. 1:38:37
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A wide ranging conversation with Dr Phillipa Burt about ensemble theatre, its place in the history of British Theatre and the relationship between that story and ideas within the Drama School. Philippa Burt is a lecturer in theatre and performance theory and Director of the MA Performance and Culture: Interdisciplinary Perspectives, in the Department of Theatre and Performance at Goldsmiths, University of London. Her research is methodologically rooted in the sociology of the theatre and focuses on the intersections between performance, politics, sociology, cultural theory and economics. Her PhD, which she completed at Goldsmiths in 2015, examined the attempts to create director-led ensemble companies in Britain between 1900 and 1968. More recently, she has published work on the Russophobic attitudes in the British theatre during the 1930s and Anglo-American theatre relations during the First World War. You can find out more about Phillipa's work including links to her academic work at : https://www.gold.ac.uk/theatre-performance/staff/burt-philippa/ Including the following articles: Burt, Philippa . 2018. From the Western Front to the East Coast: Barker's Trojan Women in the USA . New Theatre Quarterly, 34(4), pp. 326-338. ISSN 0266-464X Burt, Philippa . 2016. 'The Merry Wives of Moscow' Komisarjevsky, Shakespeare and Russophobia in the British Theatre . New Theatre Quarterly, 32(4), pp. 375-390. ISSN 0266-464X Burt, Philippa . 2014. Punishing the Outsiders: Theatre Workshop and the Arts Council . Theatre, Dance and Performance Training, 5(2), pp. 119-130. ISSN 1944-3927 Burt, Philippa . 2012. Granville Barker’s Ensemble as a Model of Fabian Theatre . New Theatre Quarterly, 28(4), pp. 307-324. ISSN 0266-464X Support the show…
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The History of Actor Training in the British Drama School.
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In this episode we congratulate the new principal of Central Josette Bushell-Mingo on her appointment and look back on the brief and curious history of the Company of Youth also known as the Rank Charm School. And it’s principal the much mocked Molly Terraine https://www.bbc.co.uk/iplayer/episode/p059083r/tuesday-documentary-the-rank-charm-school Support the show…
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