Losing sight of land: tales of dyslexia and dyspraxia in psychophysical actor training

Abstract

This article reports on the findings of a research project into the impact of psychophysical actor training methods on neurodiverse students. It illustrates how the application of a Social Theory of Learning Difference reveals the mechanisms whereby these training methods dysconsciously discriminate against those students who are dyslexic and/or dyspraxic learners. The research findings recognise the inherent value of psychophysical methods in the training of actors but suggests that there is a need to move away from a singular Psycho-Medical Theory of Learning Difference and to adopt a framework of learning difference based on the Social Model of (dis)ability, which requires institutions to adapt their provision to better meet a diverse range of needs. A revision of psychophysical approaches is proposed, which draws on a neuroscientific theory of experiential practice and a psychological framework of actor engagement. This new approach seeks to enhance the effective communication of embodied knowledge and skills in diverse actor training contexts and to allow students who are dyslexic and/or dyspraxic learners equal access to that learning.

Finding a Way: More Tales of Dyslexia and Dyspraxia in Psychophysical Actor Training

“…Only then, would I lead the class through a flowing progression from beginning to end; the benefit being that all students are orientated to the sequence, able to experience it somatically, and can feedback on what they learned about themselves. I described in my previous article (Oram 2018) how neurodiverse students can get lost when working eyes-closed-this could be due to disorientation or a lack of visual clues to help translate narrative instructions into physical experience. Students now choose whether to work with their eyes closed or open.…”

“…McLeod 2011, 206-7) Moustakas describes the seven stages of heuristic process as initial engagement, immersion, incubation, illumination, explication, and creative synthesis (Moustakas 1990). In my previous article (Oram 2018), I discussed my own process of "surrender" to the research and how I had reached a point of "transformation/illumination" using focus groups, reflective practice and peer observations 1 . As a result, I was able to identify a set of emergent theories relating to the neurodiverse student experience.…”