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Dr Katia Savrami, Visiting Researcher
‘Does Dance Matter?: Relevance of dance technique in Drama Studies’
Dr Katia Savrami:
Abstract: Since the establishment of Drama Studies, movement was always a part of actors training. The field of the movement for actors (Evans 2008:31-122), in the current academic institutions in the UK, covers a wide range of subjects such as: Somatics, movement practices, dance and others.
In this paper the initial aim is to collect information about the dance styles considered as preferable and/or acceptable in the current training for actors in UK. This investigation was further enriched by observing classes and interviewing teachers (for the confidentiality of the research the interviews taken will reefed with numbers and not by the name of the teacher or the acting institution) in acting institution. In particular the focus will be on the various ways in which dance technique is part of drama studies in the BA degree for acting; and the rationale for including it in the training for the actor. It is suggested that dance practices and training should not be seen merely as a means that is relevant to the needs of industry but also as a ‘safe’ training for the actor’s body. However a development of a ‘new’ dance technique designed for the actor’s which will allow for an enriched physicality and bodily expression through a deep understanding and mastery of self in acting but also will be in accordance to the needs for contemporary acting is essential in the 21st century.
Key words: movement, presence on stage, ballet training, dance genres and relevance in BA degree for acting, ‘new’ dance technique for actors.
Biography: Dr Katia Savrami, Choreologist, Assistant professor, Department of Theatre Studies, University of Patras, Rion –Greece, firstname.lastname@example.org, www.savrami.gr. My interest on this research has been formed during the years of my supervision, for a PhD research at the Royal Central School for Speech and Drama, to Dr Kiki’s Selioni between 2010-2013 and by reflecting on and using my experience when I was teaching movement and dance for actors in “Veaki professional school of acting” in Athens between 1993- 1999. Taking the opportunity I am grateful to my colleges in Dance and GSA department at the University of Surrey were my sabbatical was hosted in the second term of the academic year 2013- 2014, for their suggestions and discussion in an earlier stage of this paper.
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