Latinx Actor Training

<p><em>Latinx Actor Training</em> presents essays and pioneering research from leading Latinx practitioners and scholars in the United States to examine the history and future of Latino/a/x/e actor training practices and approaches.</p><p>Born out of the urgent need to address the inequities in academia and the industry as Latinx representation on stage and screen remains disproportionately low despite population growth; this book seeks to reimagine and restructure the practice of actor training by inviting deep investigation into heritage and identity practices. <i>Latinx Actor Training</i> features contributions covering current and historical acting methodologies, principles, and training, explorations of linguistic identity, casting considerations, and culturally inclusive practices that aim to empower a new generation of Latinx actors and to assist the educators who are entrusted with their training.</p><p>This book<i> </i>is dedicated to creating career success and championing positive narratives to combat pervasive and damaging stereotypes.<i> Latinx Actor Training</i> offers culturally inclusive pedagogies that will be invaluable for students, practitioners, and scholars interested in the intersections of Latinx <i>herencia </i>(heritage), identity, and actor training.</p> <p><i>Contributor Biographies</i></p><p><i>Acknowledgments</i></p><p><i>Forward</i></p><p>Introduction</p><p>Cynthia Santos DeCure and Micha Espinosa</p><p>Part 1: History and Theory</p><p>1. Ancestral Echoes: Excavating Latinx Histories in Actor Training </p><p>Chantal Rodriguez</p><p>2. Diane Rodríguez’s Acting Activism </p><p>Marci R. McMahon</p><p>3. "Let Me Define Myself": An Interview with Puerto Rican <i>teatrera </i>Rosa Luisa Márquez</p><p>Priscilla Melendez and Aníbal González</p><p>4. Actor Training with Global Perspectives: A Historical Narrative of the Only Spanish-Language Theatre Conservatory in the United States</p><p>Joann Yarrow</p><p>5. Dr. Alma Martinez: A Narrative Towards Becoming a Chicanx Actor</p><p>Alma Martinez</p><p>6. Performance for Innocents: Live Art Pedagogy for Rebel Artists With Guillermo Gómez-Peña and Luz Oropeza </p><p>Paloma Martínez-Cruz</p><p>7. Confessions of a Racial Nomad: Indigenous-Mestizx Ethnicity in the World of Eurocentric Performance Practices</p><p>Saúl García-López, aka La Saula</p><p>Part 2: Acting</p><p>8. The Complexity and Poetry of Latinx Identity and Actor Training, a Narrative</p><p>Micha Espinosa</p><p>9. From Method to Mythic: Why Latinx? Why Mythic? How Mythic? Why Now? </p><p>Marissa Chibás</p><p>10. The Latinx Actor’s Linguistic Identity: Preserving Our Culture in Speech Training</p><p>Cynthia Santos DeCure </p><p>11. Accent and Dialect Training for the Latinx Actor</p><p>Cynthia Santos DeCure</p><p>12. Freeing the Bilingual Voice: Thoughts on Adapting the Linklater Method Into Spanish</p><p>Antonio Ocampo-Guzman</p><p>13. Towards a Latinx-Driven Physical Theatre Pedagogy: Acrobatic Theatre for Social Change</p><p>CarlosAlexis Cruz</p><p>14. Experiences in Working with Shakespeare in Adaptation, Shakespeare in Spanish and Bilingual Heightened Text</p><p>Cynthia Santos DeCure and Micha Espinosa</p><p>15. Navigating the Musical Theatre Industry for Latinx Actors</p><p>Julio Agustin</p><p>16. School of Autodidacts </p><p>Mónica Sánchez</p><p>17. The Five Elements </p><p>Caridad Svich</p><p>18. Afro-Latinas in Conversation: Interview with Debra Anne Byrd, Founder of Harlem Shakespeare and Creator of Becoming Othello</p><p>Christin Eve Cato</p><p>19. On Latinx Casting: Interview with Peter Murrieta, Emmy Award-Winning Writer and Producer</p><p>Micha Espinosa</p><p>20. Championing Unheard Voices: Developing the Civic Voice Through Story</p><p>Michelle Lopez-Rios</p><p>21. Theatre Where You Are</p><p>Emilio Rodriguez</p><p>22. Strategies for Directing Latinx Plays</p><p>Jerry Ruiz</p><p>23. Teaching Acting Using the Four Agreements as a Framework for Self-Acceptance and Cultural Connection</p><p>Christina Marín</p><p>24. Performance of Identity—A Practice</p><p>Marie Ramirez Downing</p><p>25. Fitzmaurice Voicework® as a Contemplative Practice and Decolonizing Agent in Actor Training</p><p>Lorenzo González Fontes</p><p>Bendiciones</p><p>Index</p>