Time and Performer Training addresses the importance and centrality of time and temporality to the practices, processes and conceptual thinking of performer training. Notions of time are embedded in almost every aspect of performer training, and so contributors to this book look at:

  • age/aging and children in the training context
  • how training impacts over a lifetime
  • the duration of training and the impact of training regimes over time
  • concepts of timing and the ‘right’ time
  • how time is viewed from a range of international training perspectives
  • collectives, ensembles and fashions in training, their decay or endurance.

Through focusing on time and the temporal in performer training, this book offers innovative ways of integrating research into studio practices. It also steps out beyond the more traditional places of training to open up time in relation to contested training practices that take place online, in festival spaces and in folk or amateur practices.

Ideal for both instructors and students, each section of this well-illustrated book follows a thematic structure and includes full-length chapters alongside shorter provocations. Featuring contributions from an international range of authors who draw on their backgrounds as artists, scholars and teachers, Time and Performer Training is a major step in our understanding of how time affects the preparation for performance.

part Section I|20 pages

(Re)Introducing time

chapter 1|4 pages


Embodied time
ByAnne Bogart

chapter 2|13 pages


Expansive temporalities of performer training
ByKonstantinos Thomaidis, Mark Evans, Libby Worth

part Section II|42 pages

About Time

chapter 3|15 pages


Training, time and temporality
ByMark Evans

chapter 4|5 pages

Premodern Training

A provocation
ByDavid Wiles

chapter 5|7 pages

Time in Noh Theatre Performance and Training

Conversations with Udaka Tatsushige
ByDiego Pellecchia

chapter 6|12 pages

A Materialist Feminist Perspective on Time in Actor Training

The commodity of illusion
ByEvi Stamatiou

part Section III|36 pages

On time

chapter 7|11 pages

The Ecology of a Sense of Good Timing

ByDarren Tunstall

chapter 8|3 pages

Gathering Ghosts

Lecoq’s twenty movements as a technique to mark time
ByJenny Swingler

chapter 9|10 pages


Drilling through time
ByMark Hamilton

chapter 10|10 pages

RSVP and the Timely Experience

ByGyllian Raby

part Section IV|38 pages

Over time

chapter 11|7 pages

Formative trainings in Carnatic vocal music

A three-way conversation through time
ByTim Jones

chapter 12|12 pages

Change, Continuity and Repetition

Married to the Balinese mask
ByTiffany Strawson

chapter 13|5 pages

The feeling of time

ByJennifer Jackson

chapter 14|12 pages

The Dance of Opposition

Repetition, legacy and difference in Third Theatre training
ByJane Turner, Patrick Campbell

part Section V|42 pages

Out of time

chapter 15|12 pages

Bridging Monuments

On repetition, time and articulated knowledge at The Bridge of Winds group
ByAdriana La Selva

chapter 16|15 pages

The Always-Not-Yet/Always-Already of Voice Perception

Training towards vocal presence
ByKonstantinos Thomaidis

chapter 17|6 pages

Rehearsing (Inter)Disciplinarity

Training, production practice and the 10,000-hour problem
ByLaura Vorwerg

chapter 18|7 pages

Beyond The ‘Time Capsule’

Recreating Korean narrative temporalities in pansori singing
ByChan E. Park

part Section VI|46 pages

From Time to Times

chapter 19|15 pages

Simultaneity and Asynchronicity in Performer Training

A case study of Massive Open Online Courses as training tools
ByJonathan Pitches

chapter 20|10 pages

Festival Time

ByKate Craddock

chapter 21|4 pages

Time, Friendship and ‘Collective Intimacy’

The point of view of a co-devisor from within Little Bulb Theatre
ByEugénie Pastor

chapter 22|16 pages

Time Moves

Temporal experiences in current London-based training for traditional clog and rapper sword dances
ByLibby Worth