‘Call Me by My Name’: inclusive actor training for second language users

Article


Stamatiou, E. 2024. ‘Call Me by My Name’: inclusive actor training for second language users. Theatre, Dance and Performance Training. 15 (2), pp. 162-178. https://doi.org/10.1080/19443927.2024.2335649
AuthorsStamatiou, E.
Abstract

Among efforts to decolonise and decenter the actor training studio, practitioners and scholars consider the barriers for students who speak English as a Second Language (ESL) and undertake text-based actor training in English. This essay draws on Pierre Bourdieu’s concepts of linguistic capital and habitus to examine the agency of ESL student actors in developing their acting skills in distinct ways, often against their embodied linguistic structures. Through a phenomenological assessment of how the linguistic habitus and capital of the student work in tandem with their training habitus and capital, the essay highlights the inevitable anxiety involved. A participatory action research model invites ESL acting students to embrace and lead the development of their acting skills alongside their language skills. Actionable interventions, such as the icebreaker exercise ‘Call Me by My Name’, prompt actor training institutions to develop pedagogies and curricula that acknowledge the individualised needs of ESL students and celebrate their contribution to English-speaking training. Giving the agency to ESL students to shape English-language actor training creates standards for what might be inclusive actor training for ESL student actors.

Keywordsactor training; Bourdieu; English as second language; anxiety; inclusive pedagogies
JournalTheatre, Dance and Performance Training
Journal citation15 (2), pp. 162-178
ISSN1944-3927
Year2024
PublisherTaylor & Francis
Accepted author manuscript
File Access Level
Repository staff only
Publisher's version
License
File Access Level
Anyone
Digital Object Identifier (DOI)https://doi.org/10.1080/19443927.2024.2335649
Publication dates
Online08 Jul 2024
Publication process dates
Accepted12 Mar 2024
Deposited13 Nov 2024
Copyright holder© 2024 The Author
Permalink -

https://repository.uel.ac.uk/item/8y784

Download files


Publisher's version
Call Me by My Name inclusive actor training for second language users.pdf
License: CC BY-NC-ND 4.0
File access level: Anyone

  • 21
    total views
  • 9
    total downloads
  • 10
    views this month
  • 5
    downloads this month

Export as

Related outputs

Parodying Through Song: How Comic Devices in King George III’s Songs in Hamilton Challenge Contemporary Dispositions About the Symbolic Value of Youth Culture
Stamatiou, E. 2024. Parodying Through Song: How Comic Devices in King George III’s Songs in Hamilton Challenge Contemporary Dispositions About the Symbolic Value of Youth Culture. in: Wetmore, K. J., Jr. (ed.) Hamilton, History and Hip Hop: Essays on an American Musical McFarland. pp. 73-88
Liminal Casting: Self-Inquisitive Scene Study in Actor Training
Stamatiou, E. 2024. Liminal Casting: Self-Inquisitive Scene Study in Actor Training . in: Peck, L. and Stamatiou, E. (ed.) Critical Acting Pedagogy: Intersectional Approaches Routledge. pp. 121-134
Emotion Memory versus Physical Action Towards Anti-racist Pedagogies that Make Way for Critical Praxis
Stamatiou, E. 2023. Emotion Memory versus Physical Action Towards Anti-racist Pedagogies that Make Way for Critical Praxis. in: Scott, S. and Skelton, J. (ed.) Stanislavski and Race: Questioning the “System” in the 21st Century Routledge Taylor & Francis Group. pp. 62-79
Bourdieu in the Studio: Decolonising and Decentering Actor Training through Ludic Activism
Stamatiou, E. 2023. Bourdieu in the Studio: Decolonising and Decentering Actor Training through Ludic Activism. London and New York Routledge Taylor & Francis Group.
Albania
Jonka, E. and Stamatiou, E. 2023. Albania. in: Remshardt, R. and Mancewicz, A. (ed.) The Routledge Companion to Contemporary European Theatre and Performance Routledge Taylor & Francis Group.
A screen actor prepares: Self-taping by reversing Stanislavsky’s Method of Physical Actions
Stamatiou, E. 2023. A screen actor prepares: Self-taping by reversing Stanislavsky’s Method of Physical Actions. Stanislavski Studies. 11 (1), pp. 63-79. https://doi.org/10.1080/20567790.2023.2196297
Developing the Critical Verbatim Theater Artist during the Pandemic: A Transatlantic Collaboration
Stamatiou, E., Kildow, E., Spearing, F., Nodding, G. and Price, J-P. 2022. Developing the Critical Verbatim Theater Artist during the Pandemic: A Transatlantic Collaboration. Artspraxis. 9 (1), pp. 13-33.
Joan Littlewood and Ariane Mnouchkine against the canon: developing the actors’ social representations through clowning
Stamatiou, E. 2022. Joan Littlewood and Ariane Mnouchkine against the canon: developing the actors’ social representations through clowning. Theatre, Dance and Performance Training. 13 (4), pp. 519-535. https://doi.org/10.1080/19443927.2021.1968026
Pierre Bourdieu and actor training: towards decolonising and decentering actor training pedagogies
Stamatiou, E. 2022. Pierre Bourdieu and actor training: towards decolonising and decentering actor training pedagogies. Theatre, Dance and Performance Training. 13 (1), pp. 96-114. https://doi.org/10.1080/19443927.2021.1943509
Stepping Forward: An Exploration of Devised Theatre’s Democratic Designs in an Actor-Training Setting
Stamatiou, E. 2020. Stepping Forward: An Exploration of Devised Theatre’s Democratic Designs in an Actor-Training Setting. in: Aragay, M., Botham, P. and Prado-Pérez, J. R. (ed.) World Political Theatre and Performance: Theories, Histories, Practices BRILL. pp. 98-113
A Materialist Feminist Perspective on Time in Actor Training: The commodity of illusion
Stamatiou, E. 2019. A Materialist Feminist Perspective on Time in Actor Training: The commodity of illusion. in: Evans, M., Thomaidis, K. and Worth, L. (ed.) Time and Performer Training Routledge. pp. 50-61
A Brechtian perspective on London Road: Class representations, dialectics and the ‘gestic’ character of music from stage to screen
Stamatiou, E. 2019. A Brechtian perspective on London Road: Class representations, dialectics and the ‘gestic’ character of music from stage to screen. Studies in Musical Theatre. 13 (3), pp. 287-298. https://doi.org/10.1386/smt_00007_1
The Economic Communities of Edinburgh’s August Festivals: An Exclusive ‘Global Sense of Place’ and an Inclusive ‘Local Sense of Space’
Stamatiou, E. 2019. The Economic Communities of Edinburgh’s August Festivals: An Exclusive ‘Global Sense of Place’ and an Inclusive ‘Local Sense of Space’. in: Galea, M. and Musca, S. (ed.) Redefining Theatre Communities: International Perspectives on Community-Conscious Theatre-Making Bristol, UK; Chicago, USA Intellect Press. pp. 133-148
Caryatid Unplugged: A Cabaret on Performing and Negotiating Belonging and Otherness in Exile
Stamatiou, E. 2017. Caryatid Unplugged: A Cabaret on Performing and Negotiating Belonging and Otherness in Exile. in: Rudakoff, J. (ed.) Performing Exile: Foreign Bodies Intellect Press. pp. 195-216