Inclusivity and Equality in Performance Training

<p><em>Inclusivity and Equality in Performance Training</em> focuses on neuro and physical difference and dis/ability in the teaching of performance and associated studies. It offers 19 practitioners’ research-based teaching strategies, aimed to enhance equality of opportunity and individual abilities in performance education.</p><p>Challenging ableist models of teaching, the 16 chapters address the barriers that can undermine those with dis/ability or difference, highlighting how equality of opportunity can increase innovation and enrich the creative work. Key features include:</p><ul> <p> </p> <li>Descriptions of teaching interventions, research, and exploratory practice to identify and support the needs and abilities of the individual with dis/ability or difference</li> <p> </p> <li>Experiences of practitioners working with professional actors with dis/ability or difference, with a dissemination of methods to enable the actors</li> <p> </p> <li>A critical analysis of pedagogy in performance training environments; how neuro and physical diversity are positioned within the cultural contexts and practices</li> <p> </p> <li>Equitable teaching and learning practices for individuals in a variety of areas, such as: dyslexia, dyspraxia, visual or hearing impairment, learning and physical dis/abilities, wheelchair users, aphantasia, attention-deficit/hyperactivity disorder and autistic spectrum.</li> </ul><p>The chapter contents originate from practitioners in the UK, USA and Australia working in actor training conservatoires, drama university courses, youth training groups and professional performance, encompassing a range of specialist fields, such as voice, movement, acting, Shakespeare, digital technology, contemporary live art and creative writing.</p><p>Inclusivity and Equality in Performance Training is a vital resource for teachers, directors, performers, researchers and students who have an interest in investigatory practice towards developing emancipatory pedagogies within performance education. </p> <p>1. Introduction</p><p>Petronilla Whitfield</p><p>2. Acting Training and Instruction for Wheelchair-Using Artists</p><p>Regan Linton</p><p>3. Acting without Imagery: Aphantasia in the Theatre Classroom</p><p>Alexis Black, Cameron Michael Chase, Brian De Vries, Rob Roznowski</p><p>4. Twelve Steps towards an Anti-discriminatory Approach to Neurodivergence in Actor Training</p><p>Daron Oram</p><p>5. Disabling Actions and Enabling Actors: Exploring the Method of Actioning the Text for Actors with Dyslexia</p><p>Deborah Leveroy</p><p>6. Exploring Digital Technology to Enable Acting Students with Dyslexia in Their Reading of Shakespeare</p><p>Petronilla Whitfield</p><p>7. How Can Imagery, Sounds, Textures and Other Creative Mediums Help an Actor with Dyslexia Understand and Connect to Shakespeare’s Text?</p><p>Elizabeth Bartram</p><p>8. Somatic and Spatial Approaches to Essay Writing for Drama Students with Dyslexia</p><p>Jodie Allinson</p><p>9. When I Can’t ‘See You at the Theatre’: Creating Inclusive Processes for Vision-Impaired Performers</p><p>Heather May</p><p>10. Politicized Identity: Developing a Dialectical Relationship between Disability and Ability</p><p>Jo Ronan</p><p>11. ‘Embodied Voice’ and Inclusivity: Ableism and Theatre Voice Training</p><p>Tara McAllister-Viel</p><p>12. Experience as Curriculum: Developing an Intuitive, Affective, Affirmative Approach to Actor Training with (Disabled) Students</p><p>Kieran Sheehan</p><p>13. Dyspraxic Approaches to Teaching Live Art in a ‘Neurodivergent’/ ‘Normodivergent’ Classroom</p><p>Daniel Oliver and Sumita Majumdar</p><p>14. The Inclusive Drama Studio: Adaptive Strategies in University Actor Training</p><p>Rea Dennis</p><p>15. ‘See a Sign’ – Training for Deaf Actors Who Use British Sign Language as Their Preferred Language</p><p>Paula Garfield</p><p>16. Towards Equity and Agency in a Word-Dominated World: Working with Actors with Learning Disabilities</p><p>Richard Hayhow</p>