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An investigation into the practice, form and context of an actor training in Singapore
Author
Mowatt, Andrew James
Supervisor
Gilmer, Jane
Abstract
In my research I sought to explore the role individual experience plays in actor training in a specific educational context in Singapore. I wanted to investigate if the students own life experience informs their training and what this means for the students from their perspective. In order to carry out my research I created a number of phases:
Phase one was the identification of a number of different contexts within which I perceive actor training to take place locally. In order to position my research I labelled these contexts as 'Formal' and 'Informal.' My reason for this differentiation was to suggest that training occurs in diverse but possibly connected contexts in Singapore. The 'Formal' contexts are those of institutionalised training and the 'Informal' training takes place in varied locations in Singapore's arts and cultural landscape.
Phase two of my research was a review of the literature on acting and actor training as well as a review of some of the literature on the notion of 'self.' It was important to mention the idea of 'self', in the literature review as the 'self' and some of its theories, constitutes an integral part of my contention.
Phase three of my research was the identification of a suitable methodology for the work. In seeking to explore the notion that life experience impacts on actor training I looked to. methodologies used in Drama-in-Education. My reason was to be found in my perceived connection between Drama-in-Education and the term acting, and the fact that 'acting' is seen as a somewhat unstable term. Current debate in acting contests assumptions, especially with our use of terminology such as 'truth' and 'believability.' Narrative Inquiry and Reflective Practitioner research favour the view that the individual and personal story are important in constructing personal views of the social world, and that the reflection on ones practice is key to making that practice better. These methodologies make use of the recognised instability of 'truth' or rather, they recognise that 'truth' is perhaps created through individual experience of the world. It is for this reason that I chose Narrative Inquiry and Reflective practitioner Design as research methodologies.
Phase four of my research formed the most important phase as it was at this stage the identification of a specific context and the site of my project. I chose to use a group of my own year one acting students as the research participants. My research conducted over two weeks of intensive actor training sessions within a full-time training course formed the main data collection as students worked on a number of established training exercises.
Phase five was the analysis and findings phase of my research, as well as the generation of possible future directions.
The research ran concurrently with each phase supporting and informing the other. This was important, as the circulatory nature of the work kept pointing me in new directions and generating spaces within which to think and question the notions of acting, actor training and how student's life experience influences the processes, which is what I had hoped the project would inspire.
Phase one was the identification of a number of different contexts within which I perceive actor training to take place locally. In order to position my research I labelled these contexts as 'Formal' and 'Informal.' My reason for this differentiation was to suggest that training occurs in diverse but possibly connected contexts in Singapore. The 'Formal' contexts are those of institutionalised training and the 'Informal' training takes place in varied locations in Singapore's arts and cultural landscape.
Phase two of my research was a review of the literature on acting and actor training as well as a review of some of the literature on the notion of 'self.' It was important to mention the idea of 'self', in the literature review as the 'self' and some of its theories, constitutes an integral part of my contention.
Phase three of my research was the identification of a suitable methodology for the work. In seeking to explore the notion that life experience impacts on actor training I looked to. methodologies used in Drama-in-Education. My reason was to be found in my perceived connection between Drama-in-Education and the term acting, and the fact that 'acting' is seen as a somewhat unstable term. Current debate in acting contests assumptions, especially with our use of terminology such as 'truth' and 'believability.' Narrative Inquiry and Reflective Practitioner research favour the view that the individual and personal story are important in constructing personal views of the social world, and that the reflection on ones practice is key to making that practice better. These methodologies make use of the recognised instability of 'truth' or rather, they recognise that 'truth' is perhaps created through individual experience of the world. It is for this reason that I chose Narrative Inquiry and Reflective practitioner Design as research methodologies.
Phase four of my research formed the most important phase as it was at this stage the identification of a specific context and the site of my project. I chose to use a group of my own year one acting students as the research participants. My research conducted over two weeks of intensive actor training sessions within a full-time training course formed the main data collection as students worked on a number of established training exercises.
Phase five was the analysis and findings phase of my research, as well as the generation of possible future directions.
The research ran concurrently with each phase supporting and informing the other. This was important, as the circulatory nature of the work kept pointing me in new directions and generating spaces within which to think and question the notions of acting, actor training and how student's life experience influences the processes, which is what I had hoped the project would inspire.
Date Issued
2011
Call Number
PN2075 Mow
Date Submitted
2011