Inclusivity and Equality in Performance Training: Teaching and Learning for Neuro and Physical Diversity

Description

Inclusivity and Equality in Performance Training focuses on neuro and physical difference and dis/ability in the teaching of performance and associated studies. It offers 19 practitioners’ research-based teaching strategies, aimed to enhance equality of opportunity and individual abilities in performance education. Challenging ableist models of teaching, the 16 chapters address the barriers that can undermine those with dis/ability or difference, highlighting how equality of opportunity can increase innovation and enrich the creative work. Key features include: Descriptions of teaching interventions, research, and exploratory practice to identify and support the needs and abilities of the individual with dis/ability or difference Experiences of practitioners working with professional actors with dis/ability or difference, with a dissemination of methods to enable the actors A critical analysis of pedagogy in performance training environments; how neuro and physical diversity are positioned within the cultural contexts and practices Equitable teaching and learning practices for individuals in a variety of areas, such as: dyslexia, dyspraxia, visual or hearing impairment, learning and physical dis/abilities, wheelchair users, aphantasia, attention-deficit/hyperactivity disorder and autistic spectrum. The chapter contents originate from practitioners in the UK, USA and Australia working in actor training conservatoires, drama university courses, youth training groups and professional performance, encompassing a range of specialist fields, such as voice, movement, acting, Shakespeare, digital technology, contemporary live art and creative writing. Inclusivity and Equality in Performance Training is a vital resource for teachers, directors, performers, researchers and students who have an interest in investigatory practice towards developing emancipatory pedagogies within performance education. Cover Half Title Title Page Copyright Page Dedication Contents Illustrations Tables Foreword Note References Acknowledgments Contributors 1. Introduction Introduction Removing the Barriers to Difference and Disability Teachers as Investigators, Witnesses, Innovators, and Critical Thinkers What Are the Distinctive Components Involved in Inclusive Education? Labels and Models of Disability The Aims, Rationale and Structure of this Volume Notes References 2. Acting Training and Instruction for Wheelchair-Using Artists Introduction The Context Acknowledging Ableism in Training Wheeling Identity and Culture An Accessible Training Environment Adapting Training Approaches Conclusion - What Is Possible? Notes References 3. Acting Without Imagery: Aphantasia in the Theater Classroom Introduction Research into Aphantasia Visually Focused Acting Theory Solutions Outside in: How Teachers Can Be More Inclusive Conclusion Note References Further Reading 4. Twelve Steps Toward an Anti-Discriminatory Approach to Neurodivergence in Actor Training Introduction Step One: Understanding Learning and Metacognition Step Two: Facilitated Translation Step Three: Principle-Based Learning Step Four: One Thing at a Time Step Five: Clear Structured Progressions Step Six: Student-Led Learning Step Seven: Anchoring and Orientating Step Eight: Discussion and Feedback Strategies Step Nine: Considered Use of Imagery Step Ten: From Detail to Big Picture Step Eleven: Coaching and Noting Step Twelve: Recording and Resourcing Final Thoughts Notes References 5. Disabling Actions and Enabling Actors: Exploring the Method of Actioning the Text for Actors with Dyslexia Introduction How Actors Prepare for Roles: Stanislavski as a Cognitive Artifact Dyslexia, Temporality and the 'Through-Line' of Action Dyslexia, Language Skill and the Use of Actions Contemporary Directing and Training Contexts Chekhov and Dyslexia Exercise: Imaginary Body Conclusion Notes References 6. Exploring Digital Technology to Enable Acting Students with Dyslexia in Their Reading of Shakespeare Introduction The Problem and Background Context Esthetic Reading and Theory Underpinning Some Approaches of Those with Dyslexia Building a Computer Tool - Background and Rationale The Creation of the Computer Tool - 'Sensing Shakespeare' Methodology A Description of Four of the Exercises in the 'Sensing Shakespeare' Program Sensing Shakespeare Exercise Examples 1. Music and Emotion Painting Graph (see Figure 6.2) Exercise Description Rationale Linked to Acting Rationale Linked to Dyslexia 2. Layering Exercise Exercise Description Rationale Linked to Acting Rationale Linked to Dyslexia 3. Image and Sound Sonnet (see Figure 6.3) Exercise Description Rationale Linked to Acting Rationale Linked to Dyslexia Example Exercise - The Visual Storyboard (see Figure 6.4 and 6.5) Exercise Description Rationale Mapped to Acting Rationale Linked to Dyslexia The Limitations and Benefits of the 'Sensing Shakespeare' Program Conclusion Notes References 7. How Can Imagery, Sounds, Textures and Other Creative Mediums Help an Actor with Dyslexia Understand and Connect to Shakespeare's Text? Introduction The Work Conclusion Notes References 8. Somatic and Spatial Approaches to Essay Writing for Drama Students with Dyslexia Introduction Pedagogical Approach Teaching Essay Writing Methodology Interviews One: Connecting to Language Two: Experiencing and Processing Ideas Three: Ideas as Networks Four: Expressing Ideas Practically Interview Output Workshops One: Understanding Learning Strategies Two: Playing with Language Three: Embodying Language Four: Theories as Stories and Theorists as Characters Five: Essays as Journeys Participant Response One: Dyslexia as a Processing Style Two: Working as Part of a Peer Group Three: Finding Meaningful Connections to Words and Abstract Concepts Four: Essays as Journeys Conclusions Notes References 9. When I Can't 'See You at the Theater': Creating Inclusive Processes for Vision-Impaired Performers Introduction Background Destabilizing Neutrality Creating a Safe Physical Space Adaptive Blocking Suggested Classroom Exercises Audio Description in the Classroom Audio Description for Performance Conclusion Key Principles and Approaches Notes References 10. Politicized Identity: Developing a Dialectical Relationship between Disability and Ability Introduction Oppression, Dialectics and Dialogic Pedagogy The Need to Fit In No Longer a Secret Alyson's Response Ryan's Response Politicized Identity References 11. 'Embodied Voice' and Inclusivity: Ableism and Theater Voice Training Introduction 'Embodied Voice' and Applications of Universalism 'Embodied Voice' and 'Body Efficiency Approaches' 'Embodied Voice' and the 'Corporeal Materiality of the Actor' Conclusion Note References 12. Experience as Curriculum: Developing an Intuitive, Affective, Affirmative Approach to Actor Training with (Disabled) Students Introduction Situating and Re-Situating the Context How Are We Going, Together, Differently? Generating Intuitively, Moving Through Threading the Data Day One My Journal Description of Ciaran O'Brien's Movement Performance Day Two Co-Production as Diffraction - Body as Assemblage My Journal Description of the Tutor's Performance of the Participant My Journal Description of Performance Analytical Comment Where to Now? Notes References 13. Dyspraxic Approaches to Teaching Live Art in a 'Neurodivergent'/'Normodivergent' Classroom Introduction Live Art The Neurodivergent/Normodivergent Classroom Conclusion Note References 14. The Inclusive Drama Studio: Adaptive Strategies in University Actor Training Introduction The Influence of Disability Theory Context Spolin, Lecoq and Five-Phase Pedagogical Model Viola Spolin Jacques Lecoq Phase One - Acting as a Training Ground Phase Two - Actor, Individual Phase Three: Who, What, When, Where Phase Four: Monologue Preparation and Peer Work Phase Five: Presentation and Re-Performance Trends in the Drama Studio Reasonable Adjustment: Individualized Learning and Learner Agency Creating Conditions for Success: Self-Belief and Confidence - Lola (Identifying as Dyslexic) An Imagination Hurdle - Raymond (Identifying as Dyslexic) Selecting a Monologue to Rehearse and Perform - Bryce (Identifying as Dyslexic) Watching Others - Lodge (Identifying as Being on the Autistic Spectrum) Scaffolding Sensory Integration - Riley (Identifying as Having Attention-Deficit/Hyperactivity Disorder) Co-Rehearsal and Adjacent Learning Individualized Assessment: Assessor as Tourist Conclusion Notes References 15. 'See a Sign' - Training for Deaf Actors Who Use British Sign Language as Their Preferred Language Introduction British Sign Language - Language of Deaf People in the United Kingdom Case Study - Two Deafinitely Theatre Shakespeare Productions Teaching and Directing Advice to Support Deaf Actors Read-Throughs The Need for BSL Consultants/Coaches Deafinitely Theatre's HUB Training Scheme Deafinitely Youth Theatre Mentoring and More Support for Theatre Industry My Proposed Model for Performance Training for Deaf and Hearing Actors Who Use BSL Conclusion Acknowledgments Notes References 16. Toward Equity and Agency in a Word-Dominated World: Working with Actors with Learning Disabilities Introduction The First Laboratory - An Emerging Practice The Need for the Shysters Theatre Company The Inspiration from Outside (Second Theatre) The Inspiration from Within (Third Theatre) What Was Discovered? Second Laboratory - Fleshing Out the Practice Remaining Questions What Did This Second Laboratory Achieve? What Next? Acknowledgments Notes References Index