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This book offers the perspective of a program leader, practitioner,
and scholar of actor training. It appeals to theatre artists and
scholars alike. Students and teachers will also be interested in
this firsthand account of training in an age of pandemics and
social justice. The book's examination of training programs through
cultural diversity and social justice is ripe for the current
moment. It addresses the past and present state of training to
envision the field's future. The book's unique research method
offers an ethnographic investigation of training at drama schools
in six countries spanning three continents. Over 100 interviews
accompany onsite investigations of eighteen of the most
distinguished acting programs in the world. Actor Training in
Anglophone Countries is the only book of its kind that studies the
history of training from an international perspective.
This book offers the perspective of a program leader, practitioner,
and scholar of actor training. It appeals to theatre artists and
scholars alike. Students and teachers will also be interested in
this firsthand account of training in an age of pandemics and
social justice. The book's examination of training programs through
cultural diversity and social justice is ripe for the current
moment. It addresses the past and present state of training to
envision the field's future. The book's unique research method
offers an ethnographic investigation of training at drama schools
in six countries spanning three continents. Over 100 interviews
accompany onsite investigations of eighteen of the most
distinguished acting programs in the world. Actor Training in
Anglophone Countries is the only book of its kind that studies the
history of training from an international perspective.
There are over 150 BFA and MFA acting programs in the US today,
nearly all of which claim to prepare students for theatre careers.
Peter Zazzali contends that the curricula of these courses
represent an ethos that is as outdated as it is limited, given
today's shrinking job market for stage actors. Acting in the
Academy traces the history of actor training in universities to
make the case for a move beyond standard courses in voice and
speech, movement, or performance, to develop an entrepreneurial
model that motivates and encourages students to create their own
employment opportunities. This book answers questions such as: How
has the League of Professional Theatre Training Programs shaped
actor training in the US? How have training programmes and the
acting profession developed in relation to one another? What impact
have these developments had on American acting as an art form?
Acting in the Academy calls for a reconceptualization of actor
training the US, and looks to newly empower students of performance
with a fresh, original perspective on their professional
development.
There are over 150 BFA and MFA acting programs in the US today,
nearly all of which claim to prepare students for theatre careers.
Peter Zazzali contends that the curricula of these courses
represent an ethos that is as outdated as it is limited, given
today's shrinking job market for stage actors. Acting in the
Academy traces the history of actor training in universities to
make the case for a move beyond standard courses in voice and
speech, movement, or performance, to develop an entrepreneurial
model that motivates and encourages students to create their own
employment opportunities. This book answers questions such as: How
has the League of Professional Theatre Training Programs shaped
actor training in the US? How have training programmes and the
acting profession developed in relation to one another? What impact
have these developments had on American acting as an art form?
Acting in the Academy calls for a reconceptualization of actor
training the US, and looks to newly empower students of performance
with a fresh, original perspective on their professional
development.
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