[Candrama] Theatre, Dance, and Performance Training Special Issue, Training and Agency - Call for Contributions

[Magnat, Virginie]

Theatre, Dance, and Performance Training Special Issue, Training and Agency
http://theatredanceperformancetraining.org/2022/09/cfp-tdpt-special-issue-training-and-agency/<https://urldefense.com/v3/__http:/theatredanceperformancetraining.org/2022/09/cfp-tdpt-special-issue-training-and-agency/__;!!DZ3fjg!9iiLSNvusxRJ8Cx0z_I58ai_46fQVgVx464MVHuKh7_5pRHCeciVPhrkZHXOiLzRrJi0Idfh1oebRlw4x1XuwizKasQ$>
This special edition will investigate how training structures impacts on the agency of the trainee, and vice versa. Some of the questions we would like to explore are:

  *   Are the boundaries of training necessary in order to define the individual agent?
  *   Can performer training traditions, repertoires, canons, or training institutions, impede the creativity, imagination or abilities of those in training?
  *   Is agency significant in relation to codified training practices, particularly non-western traditions, such as Noh Theatre or Kathakali?
  *   Does training conform and/or perpetuate pre-determined requirements set out by the entertainment industry, in tension with the performer’s agency?
  *   Are the social, economic, cultural and political structures that correspond to institutional power erasing social and cultural difference, or even preventing access to training? Or, are training structures an essential part of an individual’s journey to the realisation of agency?
  *   Could the empowerment of individual agency subvert, counter or challenge the structures of training regimes?
Contributors may wish to explore the following themes:

  *   Performance training in negotiation with existing power structures: from the specific power of the institution, for example, to broader structural operations of power in terms of race, class, gender identity, sexuality, disability, nationality and more.
  *   Performance training and the implications of a neutral stance promoted by some forms, such as Lecoq training and the neutral mask. Does this notion of neutrality erase individuality and autonomy and point to questions of disabling or double-disabling practices in an attempt to ‘normalise’?
  *   The challenges of working as an autodidact to achieve self-development and personal training; does this approach offer different questions concerning the role of individual agency?
  *   Access to performance training, particularly in terms of class, socio-economic deprivation, race and disability.
  *   Agency, empowerment and/or liberation through the subversion of traditions of performer training, such as radical practice within existing frameworks or institutions, or approaches of decolonization in terms of performance training canons.
  *   Agency as the use of personal, social and ethical values to foster personal responsibility, ownership and a self-determining artistic trajectory to animates one’s practice.
We welcome submissions from authors both inside and outside academic institutions, from professional practitioners and those who are currently undergoing training or who have experiences to tell from their training histories.



Virginie Magnat, Ph.D.
https://virginiemagnat.space/
<https://virginiemagnat.space/>https://fccs.ok.ubc.ca/about/contact/Virginie-Magnat

Respectfully acknowledging that I live and work in the traditional, ancestral, and unceded territory of the Syilx people.

The Performative Power of Vocality, Routledge 2020, American Theatre and Drama Society Book Award Honorable Mention

Grotowski, Women, and Contemporary Performance: Meetings with Remarkable Women, Routledge 2014, Canadian Association for Theatre Research Book Award Honorable Mention

"Performance Training and Well-Being" Special Issue Editor, Journal of Theatre, Dance & Performance Training https://www.tandfonline.com/toc/rtdp20/13/2
http://theatredanceperformancetraining.org/2022/03/embodied-and-oral-land-acknowledgement/
[1657917351675]




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