ABSTRACT

Intercultural Acting and Performer Training is the first collection of essays from a diverse, international group of authors and practitioners focusing on intercultural acting and voice practices worldwide. This unique book invites performers and teachers of acting and performance to explore, describe, and interrogate the complexities of intercultural acting and actor/performer training taking place in our twenty-first century, globalized world.

As global contexts become multi-, inter- and intra-cultural, assumptions about what acting "is" and what actor/performer training should be continue to be shaped by conventional modes, models, techniques and structures. This book examines how our understanding of interculturalism changes when we shift our focus from the obvious and highly visible aspects of production to the micro-level of training grounds, studios, and rehearsal rooms, where new forms of hybrid performance are emerging.

Ideal for students, scholars and practitioners, Intercultural Acting and Performer Training offers a series of accessible and highly readable essays which reflect on acting and training processes through the lens offered by "new" forms of intercultural thought and practice.

chapter |24 pages

Introduction in three parts

ByPhillip B. Zarrilli, T. Sasitharan, Anuradha Kapur

chapter 1|23 pages

Actor training at the Intercultural Theatre Institute of Singapore

ByGiorgia Ciampi Tsolaki

chapter 2|14 pages

From the flower to madness

The ontology of the actor in the work of Suzuki Tadashi
ByGlenn Odom

chapter 3|15 pages

Dancing Hamlet in a world of frogs

Butoh and the actor’s inner landscape
ByTanya Calamoneri

chapter 4|15 pages

Stepping out of the frame

contemporary jingju actor training and cross-cultural performance in Taiwan
ByJasmine Yu-Hsing Chen

chapter 7|18 pages

The role of “Presence” in training actors’ voices 1

ByTara McAllister-Viel

chapter 8|20 pages

Training a performer’s voices

ByElecta Behrens

chapter 9|12 pages

Grasping the Bird’s Tail 1

Inspirations and starting points
ByChristel Weiler

chapter 10|23 pages

Embodying imagination

Butoh and performer training
ByFrances Barbe

chapter 11|15 pages

Arifin and Putu

Teater Modern acting in New Order Indonesia
ByKathy Foley

chapter 12|29 pages

Rendra 2.0

Cross-cultural theatre, the actor’s work and politics in dictatorial Indonesia
ByMarco Adda

chapter 13|15 pages

Bali in Brazil

Perceptions of “otherness” by the “other”
ByCarmencita Palermo

chapter 14|18 pages

“Traditional” opera in a “modern” society

Institutional change in Taiwanese xiqu education
ByJosh Stenberg, Tsai Hsin-hsin