ABSTRACT
This chapter explores the importance of including cultural identity in actor theatre training, specifically in voice methodologies and particularly when working with multilingual Black, Indigenous, and other students of color. Building on Gloria Anzaldúa’s writings on her Náhuatl concept of Nepantla, meaning in-between state, I imagine and propose that an embodiment of Nepantla is necessary to reframe actor theatre training that intentionally moves towards an antiracist and decolonial pedagogical practice. This chapter ethnographically links solo performance as an extension of the political voice, legitimizes immigrant journeys, and makes connections to the complexities and effects that political displacement has on the power of the physical voice, the voice in community, and to what it means to have a voice in the world.
