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2 results

  • SITI Training: Viewpoints and the Suzuki Method for Cross-Cultural Collaboration

  • Lorenzo Montanini
  • Journal:
    New Theatre Quarterly / Volume 40 / Issue 1 / February 2024
    Published online by Cambridge University Press:
    13 February 2024, pp. 48-61
    Print publication:
    February 2024
    • Article
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  • The training that the Saratoga International Theater Institute (SITI) perfected during its thirty years of existence is its most relevant heritage. SITI believed that training was a crucial part of a performer’s education and ethos. Its constitutive elements – Viewpoints and the Suzuki Method for actor training – are here put in a dialectical opposition that nurtures hybridization. This article investigates how, in fact, these two trainings intersect and also form new ‘languages’ (that is, systems of representation) whenever they are performed. A contextual analysis of SITI’s training as a foundation for making work and as a means for educating actors provides a clearer understanding of why and how SITI training is an instrument that facilitates and fosters cross-cultural collaboration.

  • Chapter 34 - Brecht and US Actor Training

  • from Part III - The World’s Brecht
  • Edited by Stephen Brockmann, Carnegie Mellon University, Pennsylvania
  • Book:
    Bertolt Brecht in Context
    Published online:
    28 May 2021
    Print publication:
    10 June 2021, pp 291-299

  • Summary

    Bertolt Brecht never developed a “system” for actor training. Nevertheless, even though one cannot point to a “Brechtian” system of acting training, others have been inspired by his theory and practice to develop alternatives to the Stanislavsky-based systems of acting training that dominate the curricula at US universities and acting studios. This chapter traces some of the key ways in which a Brechtian approach to acting has made inroads into American actor training by focusing on the two systems of training that are most fully fleshed out as methodologies and also most consciously indebted to Brecht both aesthetically and politically – Boal’s “Theatre of the Oppressed” (TO),and “Viewpoints” training.