This book explores the meanings, mechanisms and metaphors associated with rhythm in actor training, offering an overview and analysis of the ways rhythm has been used and described by European theatre practitioners over the last century and a half. How is rhythm approached, embodied and understood by actors and what role does it play their training and creative development? From the movement training of Delsarte and Jaques-Dalcroze at the end of the 19th century through to contemporary practices such as those of Gardzienice and Odin Teatret, rhythm has been identified as a powerful tool for developing physical coordination, building ensembles, accessing emotions, altering states of conscious, and heightening qualities of energy and attention. This text examines these psychophysical processes, focusing on key approaches adopted and developed within European theatre practices and their crossovers within the fields of dance, music, science and philosophy.
Case studies of specific training practices offer clear examples of the ways rhythm has been approached and utilised within this field. These studies provide a basis for comparison and an examination of the common threads as well as distinctions in approach and understanding of rhythm. These focused case studies offer students and practitioners a wealth of informative and useful insights to aid and inspire further creative and academic exploration within this field.
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