Andrew Davidson

This paper explores the fields of actor training and music education in order to illuminate the historical and pedagogical connections between the work of Konstantin Stanislavski and Emile Jaques-Dalcroze. It identifies historical parallels between their artistic practices, including their dedication to rhythm and polyrhythm. It illustrates the ways in which their pedagogical paths crossed. It analyses the artistic lineage that can be drawn from the work of Jaques-Dalcroze at the Hellerau Institute to the work of Stanislavski at the Moscow Art Theatre. This includes the influence of Dalcroze Eurhythmics on the development of Tempo-Rhythm. The paper considers how aspects of Stanislavskian actor training are reflected in aspects of Dalcrozian music education, including ensemble work, intention and emotion, and the evolution of psychophysical performance. It proposes that there is a correlation between the creative process undertaken by an actor on a play text, known as Active Analysis, and the creative process undertaken by a musician on a compositional score, known as Plastique Animée. Comparing the pedagogical principles of Stanislavski and Jaques-Dalcroze from the author’s own perspective as an actor trainer and music educator reveals areas for further research. This paper presents themes that are transferable to artists and educators engaged in continuing professional development.

Research on the role of the ballet pianist is limited. A gap in the literature concerns the ways in which dance instructors and accompanists ‘make sense’ of their collaboration. The working relationship between a dance teacher and a dance musician in a ballet class was investigated. The researcher, a ballet pianist, conducted a semi-structured, in-depth interview with a ballet-teacher colleague who is also a musician and composer. The data was analysed using Interpretative Phenomenological Analysis (IPA), a methodology which takes into account the interpretations of the participant (dance teacher) and the researcher (dance musician). This single case study presents three higher-order themes: ‘the cycle of creativity’ between the teacher, musician, and students; ‘a tonic sense in the body’ facilitated by the musician’s playing; and ‘the ideal situation’ regarding the musician’s sensory awareness during the class. It also reveals two subordinate themes that challenge effective relationships: the students’ perceived response to percussion; and the teacher’s use of recorded music. The results offer insight into specific perceptions and understandings that are transferable to dance teachers and dance musicians engaged in continuing professional development.