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• W2468613194 abstract "INTRODUCTIONDiscussions of how students are best prepared for the demands of the acting profession in UK drama school settings frequently centre around the notion of vulnerability, both for its value to engage students' capacity for creative transformation and for the possible risks it entails. At the Art of Wellbeing conference at the University of York in 2011, Ros Platton, Disability Adviser at Rose Bruford College, noted [t]heatre can expose things quickly and dramatically may not come out as obviously in other contexts; [i]t is potentially a very stressful environment. At the same event Hilary Jones, Lecturer in Voice at the Royal Scottish Academy of Music and Drama, pointed out the perception that 'suffering for art' is inherent in the creative process-artists are expected to be superhuman by the profession and Drama school training is expected to reflect (Art of Wellbeing, 2011).Similar concerns are raised by Mark Seton in his discussion of what he calls 'PostDramatic Stress', leading him to propose teachers of performance should find ways in which vulnerability [...] can become a transformative process rather than treating vulnerability as something has to be either defended against or denied (Seton 2008, 4). In the following discussion I will explore moments of vulnerability in actor training specifically in regards to how students formulate and respond to value judgments about their bodies. To frame these value judgments I propose a way in which the actor's physical capital might be theorised, building upon the work of Pierre Bourdieu and Chris Shilling. Referring to their notion of the body as an aspect of social exchange allows me to position the discussion within the dynamic interaction between the training environment and wider sociocultural discourse about the value of certain bodies. Drawing on case study research in five UK Drama schools, I then examine how the valuing of physical capital may relate to moments of 'crisis' in students' relationship with their bodies, and the impact this can have on students' embodied practices and sense of self. I discuss this through two examples of metaphors of the body recur in the fieldwork, highlighting the on-going need for drama schools to investigate how social norms [...] are variously filtered, mediated and re-contextualised within the educational field (Shilling 2010b, 152).CASE STUDY DETAILSIn the following I draw upon case study research conducted in five UK Drama schools over two and a half years set out to examine both student actors' relationship with their bodies in training and perspectives of teaching staff on the occurrence and management of potential moments of crisis in this relationship.The case studies involved 32 students aged 18-28 on undergraduate Acting courses (15 female and 17 male), and ten members of teaching staff (six female, three male). A further 44 professional actors (29 female, 15 male) aged 22 to 75 were included in the research to provide perspectives as individuals who had undergone training in the UK and had graduated into the profession. The research was comprised of formal interviews with 24 students, ten teachers, and nine professional actors while the remaining participants completed an online survey. It also draws upon over 60 hours of observation at two participating institutions, including movement, acting and voice lessons and professional preparation seminars. Selection of participants was random, dependent on availability, willingness to engage with the topic, and the institutions' concession to allow the researcher access. Consideration of the case study material should thus take into account the possibility those volunteering participation brought with them an existing interest in actors' relationships with their bodies.1THE ACTOR'S PHYSICAL CAPITALOne of the first questions put to students for this research, either in interviews or questionnaires, was a purposefully open question asking how students would describe the ideal actor in terms of physicality. …" @default.
• W2468613194 created "2016-07-22" @default.
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• W2468613194 date "2015-01-01" @default.
• W2468613194 modified "2023-09-25" @default.
• W2468613194 title "The Body That Fits The Bill: Physical Capital and ‘Crises’ of the Body in Actor Training" @default.
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