ABSTRACT
To investigate the politics of actor training-and indeed, of theatre training as a whole-one has to look into the other aspects of theatre with which the training is associated. Training in itself is not the end; rather, it is the means to produce and propagate an aesthetic and an ideology. Basic questions such as why, how, and where the theatre takes place all originate in the training process itself. This becomes all the more important when the training is formalized into a system. The rigid shell of the systematic scheme of training in an institution holds the practitioner captive. The training is not just dedicated to informing the craft, but is in itself impregnated with an embryo of the end result.
