Actor Training for a New Europe

Austerity, Innovation, Provocations & Possibility

Research output: Contribution to journalArticle

Abstract

At a time when much of Europe is in financial crisis and Britain is stumbling toward the end of its 40-year membership of the EU, theatre is crying out for original, inventive and collaborative theatre artists, actors with the skills to give the new both meaning and resonance. A focus on the now and the new is therefore a necessary part of a contemporary actor’s vocabulary, and needs to be included in conservatory training if actors are to shape the industry into which they are moving at the same time as reimagining the theatre in which they move.
Original languageEnglish
JournalParodos
Volume1
Issue number2
Publication statusPublished - 6 Oct 2019

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Austerity
Actor Training
Innovation
Industry
Vocabulary
Financial Crisis
Artist
Conservatory

Cite this

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title = "Actor Training for a New Europe: Austerity, Innovation, Provocations & Possibility",
abstract = "At a time when much of Europe is in financial crisis and Britain is stumbling toward the end of its 40-year membership of the EU, theatre is crying out for original, inventive and collaborative theatre artists, actors with the skills to give the new both meaning and resonance. A focus on the now and the new is therefore a necessary part of a contemporary actor’s vocabulary, and needs to be included in conservatory training if actors are to shape the industry into which they are moving at the same time as reimagining the theatre in which they move.",
author = "John Freeman",
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Actor Training for a New Europe : Austerity, Innovation, Provocations & Possibility. / Freeman, John.

In: Parodos, Vol. 1, No. 2, 06.10.2019.

Research output: Contribution to journalArticle

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AB - At a time when much of Europe is in financial crisis and Britain is stumbling toward the end of its 40-year membership of the EU, theatre is crying out for original, inventive and collaborative theatre artists, actors with the skills to give the new both meaning and resonance. A focus on the now and the new is therefore a necessary part of a contemporary actor’s vocabulary, and needs to be included in conservatory training if actors are to shape the industry into which they are moving at the same time as reimagining the theatre in which they move.

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