Abstract
Actor training in Western culture evolved as an oral tradition. Formal education appeared in the late-nineteenth century with the work of Konstantin Stanislavski. Despite its relatively brief history, the family tree of theatre pedagogy now consists of many contrasting branches. Several branches contain the creative and educational DNA of an approach to Western music education known as Dalcroze Eurhythmics. Emile Jaques-Dalcroze was a Swiss pianist and composer whose work at the Hellerau Institute near Dresden in Germany had a significant impact on the Modernist movements in theatre and dance, 1911–1914. Historical records show that this embodied method of music learning was disseminated by Hellerau graduates in drama schools and theatre companies around the world. This essay traces four branches on the family tree of theatre pedagogy that are directly influenced by Dalcroze Eurhythmics. These branches include the legacies of Stanislavski in Russia; Jacques Copeau and Suzanne Bing in France; Rudolph Laban and Yat Malmgren in Germany and England; and Sanford Meisner and Anne Bogart in the United States of America. This essay is written from the author’s perspective as an actor trainer and music educator in a higher education conservatoire. It offers historical contexts for contemporary pedagogies in actor training.
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