Repertoire dance professional#

Facilitating these moments uncovers actors’ increased access to resources that are otherwise omitted in actor training and devising contexts due to the hegemonic restraints of the spectator’s gaze. Within this context, languaging helps to conceptualise the moments that actors prioritise the intelligibility of their peer actors to draw more widely from their socio-cultural, linguistic and embodied resources. A training example with third-year actors in an Australian acting conservatoire is the focus of the analysis. The Philippines varied rich culture and traditions come from the influences of the early pre-existing Asian culture in the island.

Overlie’s viewpoints are proposed as useful starting points for facilitating the actor to access such resources. I draw from interactional sociolinguistics to introduce the notion of a repertoire as a collection of embodied and linguistic resources that are known and unknown by the actor.

Repertoire dance professional#

This article develops a languaging lens for analysing actor training with Mary Overlie’s viewpoints to reveal an actor’s widened embodied repertoire when privileging peer actors over spectators. premiere 2022: Marco Goecke and Johan Inger present unforgettable works Kamea Dance Company is proud to present two of the most successful Choreographers in. human as duets develop and one isolated, Kafka-esque dancer confronts the inexorable force of an inexplicable crowd. Repertory Dance Theatre (RDT), founded in 1966 in Salt Lake City, Utah, is a professional modern dance repertory company dedicated to the creation.