With The Politics of American Actor Training, coeditors Ellen Margolis and Lissa Tyler Renaud make an important contribution to the fields of theatre history and acting pedagogy. Along with twelve contributors, they have created an excellent publication that moves seamlessly among history, pedagogy, theory, and practice. As such, The Politics of American Actor Training serves several needs and deserves consideration from scholars, teachers, and professional theatre artists alike.
-Steven Harrick, Theatre Topics (USA)
[A]n exemplary book on education policy in United States acting...
-Rodolfo Obregon, La Isla de Prospero (Mexico)
What is delightful-and, to me, unexpected-about both parts of the anthology is that the editors have taken seriously the politics of American actor training programs not only in the US proper, but also as they are transmitted to other countries and cultures outside US national borders. ... This multicultural perspective broadens the usefulness of the anthology as a whole, and offers an important check on discussions of actor training politics. The authors remind us that the question cannot only be what do we owe our students and our country in the way of actor training but also how do we want to represent our national identity in the broader context of global theatre training practices?
-Elise Robinson, Voice and Speech Review (International)
With The Politics of American Actor Training, coeditors Ellen Margolis and Lissa Tyler Renaud make an important contribution to the fields of theatre history and acting pedagogy. Along with twelve contributors, they have created an excellent publication that moves seamlessly among history, pedagogy, theory, and practice. As such, The Politics of American Actor Training serves several needs and deserves consideration from scholars, teachers, and professional theatre artists alike. --Theatre Topics
The Politics of American Actor Training is an important publication and belongs in the library of anyone teaching acting, acting theory, or theatre history. --Theatre Topics
What is delightful-and, to me, unexpected-about both parts of the anthology is that the editors have taken seriously the politics of American actor training programs not only in the US proper, but also as they are transmitted to other countries and cultures outside US national borders. ... This multicultural perspective broadens the usefulness of the anthology as a whole, and offers an important check on discussions of actor training politics. The authors remind us that the question cannot only be what do we owe our students and our country in the way of actor training but also how do we want to represent our national identity in the broader context of global theatre training practices? --Elise Robinson, Voice and Speech Review