Actor Training in the 21st Century: A Global Perspective

(6-part web series)
Actor training has significantly evolved since the start of the 21st century. From approaches involving theatre-making and entrepreneurism to cross-cultural pedagogies and the challenges of COVID-19, drama schools and acting programs have engaged and reshaped the industry in ways that balance tradition and progressivism.

๐˜ˆ๐˜ค๐˜ต๐˜ฐ๐˜ณ ๐˜ต๐˜ณ๐˜ข๐˜ช๐˜ฏ๐˜ช๐˜ฏ๐˜จ ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ 21๐˜ด๐˜ต ๐˜ค๐˜ฆ๐˜ฏ๐˜ต๐˜ถ๐˜ณ๐˜บ: A Gl๐˜ฐ๐˜ฃ๐˜ข๐˜ญ P๐˜ฆ๐˜ณ๐˜ด๐˜ฑ๐˜ฆ๐˜ค๐˜ต๐˜ช๐˜ท๐˜ฆ is a six-part series hosted by Dr Peter Zazzali, Program Leader of BA(Hons) Acting at LASALLE College of the Arts. Featuring conversations with some of the foremost trainers across four continents, each week a new guest joins Peter in unpacking subjects ranging from the cultural and political to the professional and pedagogical.

Series Overview:


 

๐—˜๐—ฝ๐—ถ๐˜€๐—ผ๐—ฑ๐—ฒ ๐Ÿญ: ๐—ง๐—ฟ๐—ฎ๐˜ƒ๐—ถ๐˜€ ๐—ฃ๐—ฟ๐—ฒ๐˜€๐˜๐—ผ๐—ป – ๐—–๐—ฎ๐—น๐—ถ๐—ณ๐—ผ๐—ฟ๐—ป๐—ถ๐—ฎ ๐—œ๐—ป๐˜€๐˜๐—ถ๐˜๐˜‚๐˜๐—ฒ ๐—ผ๐—ณ ๐˜๐—ต๐—ฒ ๐—”๐—ฟ๐˜๐˜€; ๐—จ๐—ฆ๐—” | โ€œInnovation and Entrepreneurism in Training the 21st Century Actorโ€

Conversation with Travis Preston, Dean, Theatre School as well as Artistic Director, CalArts Center for New Performance at the California Institute of the Arts, USA. Travis speaks about Innovation and entrepreneurism in training the 21st century actor, something that has become especially pressing in the aftermath of COVID-19.

๐—˜๐—ฝ๐—ถ๐˜€๐—ผ๐—ฑ๐—ฒ ๐Ÿฎ: ๐—š๐—น๐—ฒ๐—ป๐—ฑ๐—ฎ ๐—Ÿ๐—ถ๐—ป๐˜€๐—ฐ๐—ผ๐˜๐˜ – ๐—ช๐—ฒ๐˜€๐˜๐—ฒ๐—ฟ๐—ป ๐—”๐˜‚๐˜€๐˜๐—ฟ๐—ฎ๐—น๐—ถ๐—ฎ๐—ป ๐—”๐—ฐ๐—ฎ๐—ฑ๐—ฒ๐—บ๐˜† ๐—ผ๐—ณ ๐—ฃ๐—ฒ๐—ฟ๐—ณ๐—ผ๐—ฟ๐—บ๐—ถ๐—ป๐—ด ๐—”๐—ฟ๐˜๐˜€; ๐—”๐—จ๐—ฆ | โ€œTraining Actors in Contemporary Australiaโ€

Conversation with Glenda Linscott, Senior Lecturer, Head of Acting, Western Australian Academy of Performing Arts. Glenda shares about approaches to training actors in contemporary Australia and talks about how conservatoire training has had to adapt in the wake of COVID-19.

๐—˜๐—ฝ๐—ถ๐˜€๐—ผ๐—ฑ๐—ฒ 3: ๐—ง. ๐—ฆ๐—ฎ๐˜€๐—ถ๐˜๐—ต๐—ฎ๐—ฟ๐—ฎ๐—ป – ๐—œ๐—ป๐˜๐—ฒ๐—ฟ๐—ฐ๐˜‚๐—น๐˜๐˜‚๐—ฟ๐—ฎ๐—น ๐—ง๐—ต๐—ฒ๐—ฎ๐˜๐—ฟ๐—ฒ ๐—œ๐—ป๐˜€๐˜๐—ถ๐˜๐˜‚๐˜๐—ฒ; ๐—ฆ๐—ถ๐—ป๐—ด๐—ฎ๐—ฝ๐—ผ๐—ฟ๐—ฒ | โ€œInterculturalism and Training the Performing Artist: A Singaporean Perspectiveโ€

Conversation with T. Sasitharan, co-founder and director of the Intercultural Theatre Institute, Singapore. Sasi sheds light into the Singaporean perspective of interculturalism and training the performing artist.

๐—˜๐—ฝ๐—ถ๐˜€๐—ผ๐—ฑ๐—ฒ ๐Ÿฐ: ๐——๐—ฟ. ๐—ง๐—ผ๐—บ ๐—–๐—ผ๐—ฟ๐—ป๐—ณ๐—ผ๐—ฟ๐—ฑ – ๐—ง๐—ต๐—ฒ ๐—ฅ๐—ผ๐˜†๐—ฎ๐—น ๐—–๐—ฒ๐—ป๐˜๐—ฟ๐—ฎ๐—น ๐—ฆ๐—ฐ๐—ต๐—ผ๐—ผ๐—น ๐—ผ๐—ณ ๐—ฆ๐—ฝ๐—ฒ๐—ฒ๐—ฐ๐—ต ๐—ฎ๐—ป๐—ฑ ๐——๐—ฟ๐—ฎ๐—บ๐—ฎ; ๐—จ๐—ž | โ€œTowards a Radical Politics of Actor Trainingโ€

Conversation with Dr Tom Cornford from The Royal Central School of Speech and Drama. Tom addresses matters of diversity, inclusion, and social justice in contemporary actor training.

๐—˜๐—ฝ๐—ถ๐˜€๐—ผ๐—ฑ๐—ฒ ๐Ÿฑ (๐——๐—ฟ. ๐—ฅ๐—ถ๐—ฐ๐—ฎ๐—ฟ๐—ฑ๐—ผ ๐—š. ๐—”๐—ฏ๐—ฎ๐—ฑ & ๐— ๐—ฒ๐—น๐—ถ๐˜€๐˜€๐—ฎ ๐—ฉ๐—ฒ๐—ฟ๐—ฎ ๐— . ๐— ๐—ฎ๐—ฟ๐—ฎ๐—บ๐—ฎ๐—ฟ๐—ฎ – ๐—”๐˜๐—ฒ๐—ป๐—ฒ๐—ผ ๐—ฑ๐—ฒ ๐— ๐—ฎ๐—ป๐—ถ๐—น๐—ฎ ๐—จ๐—ป๐—ถ๐˜ƒ๐—ฒ๐—ฟ๐˜€๐—ถ๐˜๐˜†; ๐—ฃ๐—ต๐—ถ๐—น๐—ถ๐—ฝ๐—ฝ๐—ถ๐—ป๐—ฒ๐˜€) | โ€œNegotiating Western Praxis in Asia: Training at Ateneo de Manila Universityโ€

Conversation with Dr Tom Cornford from The Royal Central School of Speech and Drama. Tom addresses matters of diversity, inclusion, and social justice in contemporary actor training.

๐—˜๐—ฝ๐—ถ๐˜€๐—ผ๐—ฑ๐—ฒ ๐Ÿฒ (๐—›๐—ฒ๐—ฎ๐˜๐—ต๐—ฒ๐—ฟ ๐—ง๐—ถ๐—บ๐—บ๐˜€ – ๐—ง๐—ผ๐—ถ ๐—ช๐—ต๐—ฎ๐—ธ๐—ฎ๐—ฎ๐—ฟ๐—ถ: ๐—ก๐—ฒ๐˜„ ๐—ญ๐—ฒ๐—ฎ๐—น๐—ฎ๐—ป๐—ฑ ๐——๐—ฟ๐—ฎ๐—บ๐—ฎ ๐—ฆ๐—ฐ๐—ต๐—ผ๐—ผ๐—น; ๐—ก๐—ญ) | โ€œTraining in New Zealand: A Bicultural Approachโ€

Conversation with Heather Timms from Toi Whakaari: New Zealand Drama School. Heather shares insights into the bicultural approach of actor training in New Zealand, whereby western and Mฤori epistemologies and pedagogies are integrated.

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