Movement Training for the Modern Actor PDF
Preview Movement Training for the Modern Actor
Movement Training for the Modern Actor Routledge Advances in Theatre and Performance Studies 1. Theatre and Postcolonial Desires 10. Movement Training for Awam Amkpa the Modern Actor Mark Evans 2. Brecht and Critical Theory Dialectics and Contemporary Aesthetics Sean Carney 3. Science and the Stanislavsky Tradition of Acting Jonathan Pitches 4. Performance and Cognition Theatre Studies after the Cognitive Turn Edited by Bruce McConachie and F. Elizabeth Hart 5. Theatre and Performance in Digital Culture From Simulation to Embeddedness Matthew Causey 6. The Politics of New Media Theatre Life®™ Gabriella Giannachi 7. Ritual and Event Interdisciplinary Perspectives Edited by Mark Franko 8. Memory, Allegory, and Testimony in South American Theater Upstaging Dictatorship Ana Elena Puga 9. Crossing Cultural Borders Through the Actor’s Work Foreign Bodies of Knowledge Cláudia Tatinge Nascimento Movement Training for the Modern Actor Mark Evans New York London First published 2009 by Routledge 270 Madison Ave, New York, NY 10016 Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2008. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 2009 Taylor & Francis All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereaf- ter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trade- marks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Evans, Mark. Movement training for the modern actor / by Mark Evans. p. cm.—(Routledge advances in theatre and performance studies ; 10) Includes bibliographical references and index. 1. Movement (Acting) I. Title. PN2071.M6E93 2009 792.02'8—dc22 2008047301 Extracts from Iris Young’s “Throwing Like Girl” published in Donn Welton’s edited collection, Body and Flesh: A Philosophical Reader, Blackwell 1998 printed by permis- sion of Wiley-Blackwell. Extracts from Jean Marie Pradier’s “Towards a Biological Theory of the Body in Perfor- mance” from the New Theatre Quarterly, 1990, Volume VI, No. 2 reprinted by permis- sion of Cambridge University Press. ISBN 0-203-88354-3 Master e-book ISBN ISBN10: 0–415–96367–2 (hbk) ISBN10: 0–203–88354–3 (ebk) ISBN13: 978–0–415–96367–1 (hbk) ISBN13: 978–0–203–88354–9 (ebk) For Vanessa Oakes Contents Acknowledgments ix Introduction: Movement Training for Actors 1 1 Educating Effi cient Labor for the Acting Profession 14 2 The ‘Neutral’ Body, the ‘Natural’ Body and Movement Training for Actors 69 3 Movement Training for Actors and the Docile Body 120 4 Movement Training and the Unruly Body 143 Conclusion: Movement Training for Actors: Overview and Projection 176 Bibliography 187 Index 207 Acknowledgments This book grew out of a doctoral research project which was itself the result of twenty fi ve years of studying and teaching movement and theatre. It would not have been possible without the inspiration of my own teachers: Jacques Lecoq, Philippe Gaulier, Monika Pagneux and Desmond Jones, and the fascination with movement that they passed on to their students. The period of doctoral research was supervised by Bob Bennett, David French and the late Clive Barker, and I am deeply indebted to them for their patience, enthusiasm, support and advice. I would also like to acknowl- edge the generous support offered to this project by the movement tutors and students at the Drama Schools and training establishments surveyed. Their contribution to this project has been invaluable, and their passion and commitment to the fi eld of movement training was a large part of what attracted me to this project in the fi rst place. I am particularly indebted to Wendy Allnutt, Niamh Dowling, Vanessa Ewan, and Shona Morris for their time, their enthusiasm for the project, and the wealth of insight and experience that they gave me access to. I am very grateful to them, and to the Drama Schools who participated in this study (Central School of Speech and Drama, Guildhall School of Music and Drama, Manchester Metropolitan University School of Theatre, and Rose Bruford College), for their permission to use interview material in this book. My colleagues and students in the Performing Arts department at Coventry University have patiently endured my absences for research and writing, which have been generously supported at various stages through funding from the Coventry School of Art and Design. Finally I would like to thank Vanessa Oakes for her endless patience and generous support over what must have seemed like an age of writing and a mountain of books. This book is dedicated to her, with love and admiration.
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