Stages of Reckoning

<p><em>Stages of Reckoning</em> is a crucial conversation about how racialized bodies and power intersect within actor training spaces.</p><p>This book provokes embodied and intellectual discomfort for the reader to take risks with their ideologies, identities, and practices and to make new pedagogical choices for students with racialized identities. Centering the voices of actor trainers of color to acknowledge their personal experience and professional pedagogy as theory, this volume illuminates actionable ideas for text work, casting, voice, consent practices, and movement while offering decolonial approaches to current Eurocentric methods. These offerings invite the reader to create spaces where students can bring more of themselves, their communities, and their stories into their training and as fodder for performance making that will lead to a more just world.</p><p>This book is for people in high/secondary schools, higher education, and private training studios who wish to teach and direct actors of color in ways that more fully honor their multiple identities.</p> <p><em>List of figures</em></p><p><em>List of contributors</em></p><p><em>Acknowledgements</em></p><p><em>Foreword: navigating liberation: a conversation between friends</em></p><p>Nicole Brewer and Walton Wilson</p><p>Introduction: why this book now?</p><p>Amy Mihyang Ginther</p><p>PART I</p><p>Distilling/grounding/performing identities</p><p>1 <b>Black queer autoethnographies: tools for equitable teaching and learning in predominantly white institutions</b></p><p>Gregory King</p><p>2 <b>Societal othering of Asian Americans and its perpetuation through casting</b></p><p>Joy Lanceta Coronel</p><p>3 <b>Embodying racial consciousness: white allyship as given circumstance and objective for the casting and coaching of scenework</b></p><p>Rachel E. Blackburn</p><p>PART II</p><p>Embodying disruption/abstention/resistance</p><p>4<b> I’mma do me: code-switch resistance as collective liberation in voice and speech classes</b></p><p>Alicia Richardson</p><p>5 <b>The erotic of abstinence: refusing the white-possessive and embracing settler abstinence in performance pedagogy</b></p><p>Maria Teresa Houar</p><p>6 <b>Nepantla: lingering in-between to embody our voice</b></p><p>Sayda Trujillo</p><p>PART III</p><p>Traveling across time/space/language</p><p>7 <b>Representation matters: the why and how of decolonizing Stanislavski actor training</b></p><p>Alison Nicole Vasquez</p><p>8 <b>Empowering the somatically othered actor through multilingual improvisation in training</b></p><p>Kristine Landon-Smith and Chris Hay</p><p>9 <b>The possibilities of paradox: decolonial Shakespeare process in practice</b></p><p>Amy Mihyang Ginther</p><p>PART IV</p><p>Transforming across/through/around disciplinarity</p><p>10 <b>A time of protest: exploring activism and acting through Hip-Hop Pedagogy & Theatre of the Oppressed</b></p><p>Daphnie Sicre</p><p>11 <b>Whose body is dis: taksu, ase, Black queer intersections, and the awakening of the actor’s spiritual practice</b> </p><p>Budi Miller</p><p>12 <b>Stigmata: biography of an Arab female body in pain</b></p><p>Maiada Aboud</p><p>Afterword: morning rain, parting clouds, and what is to come</p><p>Amy Mihyang Ginther and Celia Mercedes Espinosa </p><p>Index</p>