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

IF 0.4 3区 艺术学 0 DANCE
Zoe Glen
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引用次数: 0

摘要

在这篇论文中,我作为一名自闭症演员培训师,曾经是一名自闭主义学生演员,探讨了自闭症学生演员面临的一些准入问题。我观察了演员培训项目中常见的做法,并揭示了他们所持有的排斥性“主导叙事”,以及为什么这些会给自闭症学生带来问题。本文特别关注移情的例子,询问它是如何在斯坦尼斯拉夫斯基和梅斯纳等人的实践中使用的。这项研究脱离了自闭症的缺陷模型。相反,我着眼于自闭症的经历——我自己和其他人的经历——来研究承认、欢迎和最大限度地利用这些经历可以对这些演员培训实践做出什么贡献。结果是一个改编的例子,我重新定义了演员培训练习,使自闭症学生更容易获得,并考虑这些变化可能对空间内的所有演员产生什么好处。这篇论文是及时的,因为它继承了其他关于训练有阅读障碍和运动障碍的演员的研究,并着手解决缺乏关于训练自闭症演员的文章的问题。通过将自己定位在神经多样性范式中,它质疑如果消除致残障碍,自闭症经历会对演员培训领域做出什么贡献。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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.
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来源期刊
CiteScore
0.50
自引率
25.00%
发文量
55
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