In Jan. 2012’s “Approaches to Theatre Training” issue, we ask directors, actors, and writers what it means–and how it feels–to be an assistant.
As theatres and audiences face a brave new digital world, 12 of the nation’s most influential theatre critics talk about their towns and their changing roles.
On the stage she and her husband founded, Alaskan artists and themes are right at home.
How the many facets of one theatre artist—adaptor, actor, artistic director—have forged a major playwriting voice.
From Lecoq and Laban to Michael Chekhov and Suzuki, U.S. movement training derives its strength and purpose from abroad.
Capturing the purity and energy of not moving is the roof of the invisible body.
A good mime, asserted the late Marcel Marceau, trains to be an athlete of the heart.
Ten performers analyze the training regimens that animate them on stage.
U.S. movement teachers prefer either a hybrid or an integration of disciplines in the service of training the actor’s body.
Authenticity and connection were elusive goals for Michael John Garcés. Then he landed at the helm of Cornerstone.