The History of Actor Training in the British Drama School.

The History of Actor Training in the British Drama School.

By Robert PriceArtsPerforming Arts
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The History of Actor Training in the British Drama School. episodes

  • Training in the drama school. Liberation or oppression? A round table conversation between Sarah Weston, Naz Yeni, King Boateng, Che Francis, Isabella Verrico and Robert Price.

    Isabella Verrico, King Boateng, Naz Yeni, Che Francis and Robert Price participate in a conversation about the possibilities and risks of training in the Drama School recorded on Saturday 27th April 2021. The discussion was facilitated by Dr. Sarah Weston of The University of Bolton. 

    Sarah is a Lecturer in Theatre and Performance specialising in applied and community theatre, devised theatre and voice. She is also a theatre practitioner and playwright who works in community settings across the North West of England. She is co-director of Salford Community Theatre.

    She graduated from the University of Leeds in 2018 with her PhD entitled ‘Political Voice as Embodied Performance: young women, politics and engagement.’ Previous to this she studied MA Applied Theatre at the University of Manchester and BA Drama with Philosophy at Royal Holloway University of London. 

    She is a Coordinator for the TAPRA Performer Training Working Group as well as Co-Editor of the Theatre Dance and Performance Training Blog. She has published in Research in Drama Education: The Applied Theatre Journal, Theatre Dance and Performance Training, The Journal for Interdisciplinary Voice Studies, and The Journal for Deliberation.

    King Boateng is an Actor and Lamda graduate represented by United Agents.

    Naz Yeni is a theatre maker, researcher and lecturer and a graduate of the Birmingham School of Speech and Drama.
     
    Isabella Verrico is an actor and graduate of Lamda's two year training (curently an MFA)

    Che Francis is an actor and graduate of Lamda's two year training.  

    Please feel free to contact robert at [email protected] to continue the conversation.


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    1 hr 59 min
  • Ben Naylor: Why do Shakespeare?

    In a conversation with Ben Naylor we discuss acting Shakespeare, beyond concerns with metre and prosody, along with exploring the place and status of post graduate courses within the conservatoire. 

    Ben Naylor is Senior Lecturer and Course Leader MA Acting Classical at The Royal Central School of Speech and Drama.

      

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    1 hr 46 min
  • Ros Steen and the voice work of Nadine George. Tradition and Evolution.

    A conversation with Professor Ros Steen.


    Professor Ros Steen FRCS. MA. DSD. IPA.

    Ros Steen has worked as a Voice specialist for Theatre, Film and TV for over thirty five years with more than two hundred and fifty credits to her name including work for, among many others, the National Theatre of Scotland, Edinburgh International Festival, Citizens’ Theatre, Traverse Theatre, Royal Lyceum, Dundee Rep and Leeds Playhouse. She is an Emeritus Professor of the Royal Conservatoire of Scotland where she led the Centre for Voice in Performance establishing Nadine George Voice Work, with its emphasis on the unique connection between an individual and their voice, as the core spoken technique in the training of actors and performers. One of the first accredited teachers of the technique she has spent many years pioneering its use as a medium of professional rehearsal practice. She was the first Visiting Scholar to the Radcliffe Institute for Advanced Study at Harvard University where she worked with the multi-award winning director John Tiffany. Landmark productions include Alan Cumming’s Macbeth (UK and Broadway) and BlackWatch (National Theatre of Scotland) as well as the premières of plays by David Harrower, David Greig, Linda Mclean, Rona Munro and Nicola McCartney, among others. In 2019 she gave a joint presentation with writer A.L.Kennedy to the Akademie de Kunst in Berlin on the connection between the voice work and writing. 

    Since leaving RCS she has continued to work on productions in and outside Scotland as well as giving master classes and workshops nationally and internationally for a variety of creative practitioners. She is the Editor of Growing Voices: Nadine George Technique – the Evolution of its Influence in Training and Performance and has published several research papers about her work. She is currently a director of Voice Studio International and an Associate Editor of the International Dialects of English Archive. 

     

     

     

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    1 hr 26 min
  • The meaning of ensemble in the History of British Theatre. Phillipa Burt.

    A wide ranging conversation with Dr Phillipa Burt  about ensemble theatre, its place in the history of British Theatre and the relationship between that story and ideas within the Drama School.

    Philippa Burt is a lecturer in theatre and performance theory and Director of the MA Performance and Culture: Interdisciplinary Perspectives, in the Department of Theatre and Performance at Goldsmiths, University of London.

    Her research is methodologically rooted in the sociology of the theatre and focuses on the intersections between performance, politics, sociology, cultural theory and economics. Her PhD, which she completed at Goldsmiths in 2015, examined the attempts to create director-led ensemble companies in Britain between 1900 and 1968. More recently, she has published work on the Russophobic attitudes in the British theatre during the 1930s and Anglo-American theatre relations during the First World War.

    You can find out more about Phillipa's work  including links to her academic work at :

     https://www.gold.ac.uk/theatre-performance/staff/burt-philippa/

    Including the following articles:

    Burt, Philippa. 2018.  From the Western Front to the East Coast: Barker's Trojan Women in the USA. New Theatre Quarterly, 34(4), pp. 326-338. ISSN 0266-464X 

    Burt, Philippa. 2016.  'The Merry Wives of Moscow' Komisarjevsky, Shakespeare and Russophobia in the British Theatre. New Theatre Quarterly, 32(4), pp. 375-390. ISSN 0266-464X 

    Burt, Philippa. 2014.  Punishing the Outsiders: Theatre Workshop and the Arts Council. Theatre, Dance and Performance Training, 5(2), pp. 119-130. ISSN 1944-3927 

    Burt, Philippa. 2012.  Granville Barker’s Ensemble as a Model of Fabian Theatre. New Theatre Quarterly, 28(4), pp. 307-324. ISSN 0266-464X

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    1 hr 39 min

About The History of Actor Training in the British Drama School.

From the publisher's feed

An investigation into the development and trajectory of actor training in the United Kingdom.