Intercultural Acting and Performer Training

List of Figures

Introduction in three parts:

Part 1: Re-framing intercultural acting and actor training in the 21st century by Phillip Zarrilli

Part 2: Recalibrating intercultural acting/training today by Anuradha Kapur

Part 3: The "hot crucible" of Intercultural Actor Training: The Singaporean Context by T. Sasitharan

Chapter 1: Actor training at the Intercultural Theatre Institute of Singapore by Giorgia Ciampi Tsolaki

Chapter 2: From the flower to madness: the ontology of the actor in the work of SuzukiTadashi by Glenn Odom

Chapter 3: Dancing Hamlet in a world of frogs: butoh and the actor's inner landscape by Tanya Calamoneri

Chapter 4: Stepping out of the frame: contemporary jingju actor training in Taiwan by JasmineYu-Hsing Chen

Chapter 5: Re-considering intercultural actor training in South Africa today: 'borrowing on our own terms' by David Peimer

Chapter 6: The actor's process of negotiating difference and particularity in intercultural theatre practice by Sunhee Kim and Jeungsook Yoo

Chapter 7: The role of 'presence' in training actors' voices by Tara McAllister-Viel

Chapter 8: Training a performer's voices by Electa Behrens

Chapter 9: Grasping the bird's tail: Inspirations and starting points by Christel Weiler

Chapter 10: Embodying Imagination: butoh and performer training. by Frances Barbe

Chapter 11: Arifin and Putu: Teater Modern acting in New Order Indonesia by Kathy Foley

Chapter 12: RENDRA 2.0: Cross-cultural theatre, the actor's work and politics in dictatorial Indonesia by Marco Adda

Chapter 13: Bali in Brazil by Carmencita Palermo

Chapter 14: Traditional Opera in a 'Modern' Society: Institutional Change in Taiwanese xiqu Education by Tai Hsin-Hsin and Josh Stenberg

Index