Royal Central School of Speech and Drama (2014) MA dissertation
Demystifying Presence – Approaching an Understanding of Presence in Actor Training
This dissertation explores the concept of the actor’s presence in the context of Western actor training and performance driven by physical and psychophysical practice. Drawing upon published texts on and by Constantin Stanislavski, Michael Chekhov, Jerzy Grotowski, and Ariana Mnouchkine, the author argues that learning through both physical and psychophysical actor training is central to the understanding of presence. Using the framework of embodied cognition, the writings of Margaret Wilson’s theories of cognition is situated and cognition is time-pressured, and personal experience, the author explores how human beings perceive the world in relation to body, mind, and time. The author demonstrates how qualities of embodied cognition relate to the work of above practitioners and presents possibilities for the actor to grow, regardless of which tradition they work within. This demonstrates the weight that physical and psychophysical approaches have in contemporary actor training when searching for presence and how these two approaches can be incorporated into Wilson’s theory of embodied cognition.
Click on the link to read the dissertation at academia.edu: Demystifying Presence
Royal Central School of Speech and Drama (2014)
“Freedom to Fail to Succeed- a pedagogical approach”
This essay is a critical analysis of my emerging pedagogical practice of switching the focus from me as a teacher to the students as a learner. It revolves around a discovery from my own practice in relation to research.
Royal Central School of Speech and Drama (2014) Group Research
“No past no future” – does “only the moment exist”?
Expanding upon A. Mnouchkine’s quote we will discuss the utopian ideals of “no past no future” only “the present act”. We will question the possibility of “present-ness” and how we can explore it in practice.
“I believe that theatre is the art of the present for the actor there is no past no future there is only the present the present act. When I see young actors work on what they call the Stanislavsky method I am surprised to find out how much they go back to the past all the time. Of course stan talks about the characters past, where does he come from what is he doing? But the students are not able simply to find the present action. So they go back and I always tell them, you enter leaning backwards, weighed down by all this past while in the theatre only the moment exists “ (Ariana Mnouchkine)
Royal Central School of Speech and Drama (2013)
“Be quiet, play, and theatre will be born!” – an exploration of actively waiting in dialogue with the work of Jacques Lecoq and Michael Chekhov.
Stockholm University (2013)
“Naturalism and Epic Theatre” – a comparison is which ways Stanislavski and Brecht challenged the modern theatre.
Umeå University (2011) B.Sc dissertation
“The importance of Drama in school for the academic subjects- a study of how a group of students of the age 11-14 experiencing the drama affects their understanding of Social Studies”
Please click here to read about my current research.