https://www.um.edu.mt/library/oar/handle/123456789/21547 2026-04-05T06:59:49Z 2026-04-05T06:59:49Z Camilleri, Frank https://www.um.edu.mt/library/oar/handle/123456789/142890 2026-01-20T16:42:08Z 2026-01-01T00:00:00Z

Title: Stanislavsky from the outside : networking and re-working the self Authors: Camilleri, Frank Abstract: The paper presents an outsider’s perspective on aspects of Konstantin Stanislavsky’s approach, specifically with reference to the fundamental notion of the actor’s work on the self. Although not directly influenced by his practice, the author’s specialization in physical theatre was shaped in Stanislavsky’s shadow. Accordingly, the paper adopts the ripple effect metaphor to exemplify the impact of Stanislavsky beyond his immediate geographical, historical, and aesthetic circles of influence. Starting off with a personal anecdote by the author about a movement-based exercise, Stanislavsky’s work upon the self is identified as a key formative element that is then highlighted in the context of resonances between aesthetic and athletic processes, mainly by the proposal of a via athletae (way of the athlete). Described as a modality of performing that is not based on a specific technique or method but on the qualitative intensity of psychophysical commitment, via athletae is manifested through three main characteristics: play, collaborative competitiveness, and pacing. The interplay of aesthetic and athletic dynamics in via athletae serves to defamiliarize Stanislavsky’s work on the self, which is further problematized by the concept of bodyworld that emphasizes the interconnectedness of the performer with the material world. Viewing the self via the 3As of bodyworld (i.e. assemblages, affordances, and actants) leads to the re-reading of Stanislavsky’s maxim about self-work as a networking and a re-working of oneself in the context of epistemic actions and secondary tasks (both offering insights on scaffolded intentionality) as well as choking, stage fright, and active distraction.

2026-01-01T00:00:00Z Allain, Paul Camilleri, Frank https://www.um.edu.mt/library/oar/handle/123456789/142884 2026-01-20T15:01:18Z 2026-01-01T00:00:00Z

Title: Milestones in actor training Authors: Allain, Paul; Camilleri, Frank Abstract: Milestones in Actor Training focuses on key developments across time in how actors prepare for performance. Designed for weekly use on actor training and acting courses, the ten chosen milestones cover a wide range, culturally, historically, and geographically; from psychological realist acting in conventional plot-driven drama, through Commedia dell’Arte to the broader church of physical acting that overlaps with devising, mime, circus, contemporary dance, and other body-based genres, including Japanese Nō theatre. The book’s principal concern is the theatre actor in text-based drama, sonic, or movement structures, though the final milestone encompasses acting for film and new media. This volume concentrates mainly on conceptions of acting as emergent or as reformulated in the West, with the majority coming from the late nineteenth century onwards.

2026-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/138263 2025-08-22T08:53:50Z 2025-01-01T00:00:00Z

Title: Il-Ħadd fuq il-Bejt : looking contextually into Francis Ebejer’s acclaimed play Abstract: This long essay will discuss Il-Ħadd fuq il-Bejt, one of Francis Ebejer’s most celebrated theatrical works, exploring its significance within the broader socio-political and cultural contexts of the sixties and seventies. By examining the play’s portrayal of personal and societal tensions, the long essay will highlight how Ebejer masterfully captures the complexities of a post-colonial Malta, grappling with themes of change whilst maintaining tradition. Besides a detailed analysis of the characters, the setting and the play’s impact on Maltese theatre, the essay also investigates the premiere of Il-Ħadd fuq il-Bejt at the Manoel Theatre in 1971, drawing on documentation from the national theatre’s archives. It explores how the production managed to attract large audiences, the critical acclaim it received and the subsequent reinterpretations through tributes, amateur performances and adaptations into other media such as television. Finally, the long essay reflects on whether the play, over five decades later, can still resonate with contemporary audiences and considers how a modern staging could preserve Ebejer’s original intentions while adapting it to current theatrical practices. Description: B.Theatre. (Hons)(Melit.)

2025-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/138262 2025-08-22T08:51:06Z 2025-01-01T00:00:00Z

Title: Exploring the devising process in youth theatre : the case of Ignite Theatre company Abstract: This essay proposes that participating and engaging with the devising process within young theatre groups improves the creative ability, collaboration skills, and overall growth of actors. The essay begins by looking at the theoretical basis of devised theatre as well as youth theatre, with a special emphasis on their advantages for performers. This first part is informed by key books such as Alison Oddey’s Devising Theatre: A Practical and Theoretical Handbook (1994) and Deirdre Heddon and Jane Milling’s Devising Performance: A Critical History (2006), both of which provide insights into how devised theatre nurtures creativity, improvisation, and group work. Michael Richardson’s Youth Theatre: Drama for Life (2015) highlights the importance of youth theatre and how it can be implemented. An in-depth case study of Ignite, a youth theatre group recognised in Malta for its innovative performances, supports and exemplifies the research in the second part of the essay. The case study involves interviews with the company’s director and participants. This part focuses on the context and background of the company, as well as an exploration of the company’s devising methods. Ignite’s practical work is considered through an examination of their specific methods, including workshops, improvisation, and collaborative scriptwriting to see how ideas are created, developed, and perfected with aim of designing the final show. The case study findings highlight the advantages for performers, such as improved creative thinking, flexibility, and ensemble abilities. The conclusion summarises major observations from the case study and analysis and discusses the consequences for actor development. Description: B.Theatre. (Hons)(Melit.)

2025-01-01T00:00:00Z