Stages of Reckoning is a crucial conversation about how racialized bodies and power intersect within actor training spaces.

This book provokes embodied and intellectual discomfort for the reader to take risks with their ideologies, identities, and practices and to make new pedagogical choices for students with racialized identities. Centering the voices of actor trainers of color to acknowledge their personal experience and professional pedagogy as theory, this volume illuminates actionable ideas for text work, casting, voice, consent practices, and movement while offering decolonial approaches to current Eurocentric methods. These offerings invite the reader to create spaces where students can bring more of themselves, their communities, and their stories into their training and as fodder for performance making that will lead to a more just world.

This book is for people in high/secondary schools, higher education, and private training studios who wish to teach and direct actors of color in ways that more fully honor their multiple identities.

chapter |19 pages


Why this book now? 1
ByAmy Mihyang Ginther

part I|55 pages

Distilling/grounding/performing identities

chapter 1|19 pages

Black queer autoethnographies

Tools for equitable teaching and learning in predominantly white institutions
ByGregory King

chapter 2|18 pages

Societal othering of Asian Americans and its perpetuation through casting

ByJoy Lanceta Coronel

chapter 3|16 pages

Embodying racial consciousness

White allyship as given circumstance and objective for the casting and coaching of scenework
ByRachel E. Blackburn

part II|49 pages

Embodying disruption/abstention/resistance

chapter 4|16 pages

I'mma do me

Code-switch resistance as collective liberation in voice and speech classes
ByAlicia Richardson

chapter 5|17 pages

The erotic of abstinence

Refusing the white-possessive and embracing settler abstinence in performance pedagogy
ByMaria Teresa Houar

chapter 6|14 pages


Lingering in-between to embody our voice
BySayda Trujillo

part III|69 pages

Traveling across time/space/language

chapter 7|20 pages

Representation matters

The why and how of decolonizing Stanislavski actor training
ByAlison Nicole Vasquez

chapter 8|15 pages

Empowering the somatically othered actor through multi-lingual improvisation in training

ByKristine Landon-Smith, Chris Hay

chapter 9|32 pages

The possibilities of paradox

Decolonial Shakespeare process in practice
ByAmy Mihyang Ginther

part IV|51 pages

Transforming across/through/around disciplinarity

chapter 10|19 pages

A time of protest

Eexploring activism and acting through Hip-Hop Pedagogy and Theatre of the Oppressed
ByAlicia Richardson

chapter 11|17 pages

Whose body is dis

Taksu, ase, Black queer intersections, and the awakening of the actor's spiritual practice
ByBudi Miller

chapter 12|13 pages


biography of an Arab female body in pain
ByMaiada Aboud