Theatre Education, Pedagogy, and Training

Tadashi Suzuki and Anne Bogart in conversation at the Symposium on the Suzuki Method with SITI Company—New York City, June 3, 2017.

Maia Kinney-Petrucha examines the theoretical and applied science of creating empathy through theatre

Joan Schirle, Founding Artistic Director of Dell’Arte International, presents an overview of the history of Dell’Arte’s Rural Residency Program and the program’s relationship to community engagement in Northern California.

In the second installment of this series, Brendan McCall discusses the work of Cliff Moustache and Nordic Black Theatre. 

Lily Mengesha reports on the 2017 session of the Mellon School of Theater and Performance Research, "Research, Pedagogy, Activism," June 5–16, 2017 at Harvard University.

Samantha Mueller, a theatre practitioner who works with the special needs community, talks about Seesaw Theatre which creates multi-sensory work for children with autism.

Alice Stanley won a grant to conduct a young women's after school improv program for an underserved CPS school, but the program almost didn’t happen. Here she considers obstacles to launching the program and makes a case why the arts have to integrated into schools.

Director and educator Ashleigh Worley talks about process versus product, advocating for giving students opportunities to grow as artists.

In this installment, Aki Matsushita discusses Montreal’s English theatre scene, touching on various companies, organizations, and opportunities for theatre artists. 

Rivka Rocchio shares her approach to an acting exercise, reflecting on the nature of performance and its political implications.

Matthew Hernandez shares his experience interning at the Guthrie Theater last summer as part of a pilot program for students of color at University of Texas at Austin.

Trevor Boffone writes about teaching Emilio Rodriguez’s Swimming While Drowning in an Intro to LGBT Studies class at the University of Houston.

In this installment, scholar-artist Dominique C. Hill interviews Omi Osun Joni L. Jones about the Theatrical Jazz aesthetic, and how it intersects with academic theatre.

Puppeteer Fedelis Kyalo shares his puppet background, and discusses how puppetry intersects with popular entertainment and street protests in Kenya.

Káva Drama/Theater in Education Association is one of the most important groups on the scene in Budapest in taking responsibility for the next generation. / A Káva Műhely csapata minden alkalommal lenyűgöz, amikor projektjeink kereszteződnek. Ők képezik az egyik legfontosabb csoportot a szakmán belül, akik felelősséget vállalnak a következő generációért.

Last year, Kristóf Kelemen and his creative team (Angéla Eke, Alexandra Horváth, Márk Horváth, Tamás Rétfalvi, Judit Tarr) opened a performance at Trafó House of Contemporary Arts which deals with the struggles of performing arts education through their personal experiences. We asked Kristóf to give us an insight and present the system of the University of Theater and Film Arts, Budapest. / A Trafó tavalyi évadában, Kelemen Kristóf és alkotótársai (Eke Angéla, Horváth Alexandra, Horváth Márk, Rétfalvi Tamás és Tarr Judit) bemutattak egy előadást, amely az előadóművészeti oktatás nehézségeit tárgyalja, személyes tapasztalataikon keresztül. Felkértük Kristófot, hogy mutassa be a budapesti Színház- és Filmművészeti Egyetem működési rendszerét.

As filmed work continues to make advancements in both artistic value and employment opportunities, educator and actor Welker White asks what responsibility training programs have in preparing acting students for work in front of a camera.

Educator and theatre artist Alisha Huber discusses her teaching theatre history process.

Seth Baumrin, artistic director of Subpoetics International, discusses the history, process, and journey of a company working with the stories of refugees and displaced peoples to find their way.

Paul Gagliardi, a scholar of the Federal Theatre Project, considers recent productions of It Can’t Happen Here and why the play is resonating with both directors and audiences today.

P. Carl considers how to teach theatre in the time of Trump.