{"title":"自闭症学生演员的准入:质疑移情在演员培训方法中的作用","authors":"Zoe Glen","doi":"10.1080/19443927.2022.2095428","DOIUrl":null,"url":null,"abstract":"In this paper I, as an autistic actor-trainer who was once an autistic student-actor, explore some of the access issues faced by autistic student-actors. I look at the practices commonly taught on actor-training programmes, and uncover what exclusionary ‘dominant narratives’ they hold, and why these create issues for autistic students. This paper focuses specifically on the example of empathy, asking how it is used within the practices of Stanislavski and Meisner, among others. This research moves away from the deficit model of autism. Instead, I look to autistic experience – my own and that of others – to investigate what acknowledging, welcoming, and maximising upon these experiences can contribute to these actor-training practices. The result is an example adaptation, where I reframe actor-training exercises to be more accessible for autistic students and consider what benefits these changes might have for all actors within the space. This paper is timely as it follows on from other research into training actors with dyslexia and dyspraxia, and moves to address the absence of writing on training autistic actors. By positioning itself within the neurodiversity paradigm it questions what contributions autistic experience could make to the field of actor-training, if disabling barriers were removed.","PeriodicalId":42843,"journal":{"name":"Theatre Dance and Performance Training","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Access for autistic student-actors: interrogating the role of empathy within actor-training methods\",\"authors\":\"Zoe Glen\",\"doi\":\"10.1080/19443927.2022.2095428\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In this paper I, as an autistic actor-trainer who was once an autistic student-actor, explore some of the access issues faced by autistic student-actors. I look at the practices commonly taught on actor-training programmes, and uncover what exclusionary ‘dominant narratives’ they hold, and why these create issues for autistic students. This paper focuses specifically on the example of empathy, asking how it is used within the practices of Stanislavski and Meisner, among others. This research moves away from the deficit model of autism. Instead, I look to autistic experience – my own and that of others – to investigate what acknowledging, welcoming, and maximising upon these experiences can contribute to these actor-training practices. The result is an example adaptation, where I reframe actor-training exercises to be more accessible for autistic students and consider what benefits these changes might have for all actors within the space. This paper is timely as it follows on from other research into training actors with dyslexia and dyspraxia, and moves to address the absence of writing on training autistic actors. By positioning itself within the neurodiversity paradigm it questions what contributions autistic experience could make to the field of actor-training, if disabling barriers were removed.\",\"PeriodicalId\":42843,\"journal\":{\"name\":\"Theatre Dance and Performance Training\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2023-01-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Theatre Dance and Performance Training\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/19443927.2022.2095428\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"DANCE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Theatre Dance and Performance Training","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/19443927.2022.2095428","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"DANCE","Score":null,"Total":0}
Access for autistic student-actors: interrogating the role of empathy within actor-training methods
In this paper I, as an autistic actor-trainer who was once an autistic student-actor, explore some of the access issues faced by autistic student-actors. I look at the practices commonly taught on actor-training programmes, and uncover what exclusionary ‘dominant narratives’ they hold, and why these create issues for autistic students. This paper focuses specifically on the example of empathy, asking how it is used within the practices of Stanislavski and Meisner, among others. This research moves away from the deficit model of autism. Instead, I look to autistic experience – my own and that of others – to investigate what acknowledging, welcoming, and maximising upon these experiences can contribute to these actor-training practices. The result is an example adaptation, where I reframe actor-training exercises to be more accessible for autistic students and consider what benefits these changes might have for all actors within the space. This paper is timely as it follows on from other research into training actors with dyslexia and dyspraxia, and moves to address the absence of writing on training autistic actors. By positioning itself within the neurodiversity paradigm it questions what contributions autistic experience could make to the field of actor-training, if disabling barriers were removed.