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What follows, in four case studies, is an interrogation of the role that identity played in performance in the transatlantic cultural world between 1850 and 1910. I look at performers because their transnational struggles and assimilations of belonging were, and remain, visible precisely because they engaged with theatricality and performativity in the production of saleable and exchangeable cultural commodities. Identity and belonging are etched into the theatrical diasporas that these people traversed and, I argue, are clearly visible situations that should be taken into account when considering their historical narratives. Investigating their situations in this way is new work, which I hope will open doors to a deeper understanding and a more inclusive historicisation of performance and performers at the Fin de Siecle. Theoretically I argue from both a cultural materialist position in considering performance cultures and commodities, and with social science paradigms when considering assimilation typologies and strategy. Situating typologies of transnational belonging and social science strategies of integration within a cultural history of performance is new work, which relies on the post-modem turn toward interdisciplinary historical analysis. Indeed, the fields of identity studies and immigration studies are relatively new. In introducing recent theory to the very rich materiality of late- nineteenth century performance culture I hope to extend the life of the argument that there is much to know and rewrite in narratives of the players in this period.

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This thesis seeks to develop a conceptual framework for the creation and analysis of contemporary performance practice which draws from Jurgen Habermas's theories of communicative action and the public sphere. A consideration of political theory (notably Habermas) and critics of Habermas's work is combined with the construction of a performance making method. Operations of Dialogue is the name of both this performance making method and the resulting performance completed in September 2006. This process was structured to facilitate the particular negotiation of the performance material by the performers, identified in this work by the term' dialogical actors'. The performance of Operations of Dialogue foregrounds its own making processes as a primary subject of the staged performance work. Its content was compiled and managed by the performers themselves who selected, edited and refmed the performance material. The thesis offers a detailed overview and analysis of the making process and performance, reflecting on the actors' learning processes and the resonances with Habennasian theories of communicative action and the public sphere. This thesis is accompanied by the DVD of the performance of Operations of Dialogue which the reader is encouraged to watch before reading the writing. The thesis sets out a theoretical framework for the analysis which looks at various dimensions of Habennasian theory in relation to contemporary contexts and performance practices. This includes: the relationship to ideology critique, through comparisons with the work of Augusto Boal and Forced Entertainment; the relevance of the public sphere for political performance and the University context; and the interaction between communicative action and forms of verbatim performance. This latter section in particular considers theorists, including Crossley, White and Gilligan whose work challenges and extends the principles of Habermasian dialogue in theatrically relevant directions.

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The thesis provides a participant observer's perspective of an ensemble training programme within a subsidised professional classical theatre company. Wherever possible, that personal perspective is tested, interrogated and critiqued. The study traces the RSC's history of artist training from its beginnings and considers the contribution made by directors and key practitioners and the major theatrical influences on training within the Company. This provides a context for the specific focus which is placed on the first three years (2003/4-2006/7) of Artistic Director Michael Boyd's Artist Development Programme. This discussion occupies the main part of the thesis and is its raison d'etre. Ongoing artist development for actors and other artists is examined as an essential element of Boyd's ensemble ethos and the RSC's degree of success in meeting the requirements of its Royal Charter and of the Arts Council Document (1996) to provide training for its artists, and to support the development of the wider profession is evaluated. The discussion alludes to the current state of classical drama training in UK conservatoires with specific reference to the teaching of text and language before documenting the RSC's attempts to establish greater links with both training and professional bodies in order to support actor and director training and the professional development of other theatre practitioners. Factors that have to date inhibited the Artist Development Programme including the impact of the redevelopment of its Stratford upon Avon theatres between 2007 and 2011 are reflected on and their impact debated. An appendix bound as a separate document for ease of access and reference alongside the thesis, provides resource material for future researchers including schedules, artist feedback, company documents, archival material and photographs. It also allows the reader to take an empirical stance from which to assess the accuracy of the judgements offered.

This thesis is concerned with the lived experience of dyslexic actors. It explores the role of performance in constructing dyslexic identities, actors' relationships to written and verbal language, the ways in which this might impact on their acting process and implications for teaching practice. Research into dyslexia and acting practice is needed in light of the growing interest in cognition within the field of performance theory, the legislative framework surrounding dyslexia, implications for policy and practice and the numbers of professional actors with dyslexia. The methodology draws on a range of paradigms, namely phenomenology, embodied cognition and disability theory and adopts a mixed methods approach, in order to explore the complex nature of dyslexia and address a range of research questions. The research finds that the research participants have a different intentional relationship to language and linear sequencing. Certain training and acting experiences have given them a different experience of being in the world, creating positive dyslexic identities and body images. Disabling training approaches predicated on linear-sequencing and literacy, are the antithesis to methods which utilise non-linear, holistic and non-verbal processing. Actors manipulate the physical environment and the objects in it, to control what is otherwise a chaotic environment. A number of examples of inclusive practice and support models exist, but evidence of disabling practices remain. The research has potential policy and pedagogical implications both for actor training institutions and the industry. It also has implications for those dyslexic learners who are not professional actors, as acting may have cognitive benefits for such people and encourage positive dyslexic identities. There are broader implications relating to theatre and performance theory as a discipline, as models of neuro-diversity (such as dyslexia) can enhance current performance theory. This research may also encourage dyslexic actors not to merely survive but to thrive in the acting profession.

This thesis describes and analyzes a practice as research study (2008 - 2011) which comprised performances, ongoing workshops and a symposium. Its focus is the (re)examination of voice training for the contemporary performer exploring what existing methods are sti11 relevant, what gaps exist in current training, and how these might be bridged. The methodology is that of a feedback loop in which theoretical research informs practical explorations (conducted by the researcher on herself) which inform practical applications (in which the research is applied with other performers in a pedagogical context). The inquiry is divided into two main topics: training for Vocal Presence and for Vocal Composition. In the first, the theoretical base is that of Konstantin Stanislavski's method of physical actions and its interpretations by Jerzy Grotowski and Ingemar Lindh, with a further link made to the work of positive psychologist Mihaly Czilcszentmihalyi. In the second, the starting points are the work of John Britton and Anne Bogart's Viewpoints. Within both areas, these theories and their related practices are explored through the creation of two perfonnance pieces: lhe sound of m/y/our name ... and One By One and then applied in the creation of a method of vocal (re)actions. This work was presented through a practice as research symposium and is documented on DVD and in an interactive website. This thesis argues for the importance of mapping the connections between different aesthetic and cultural methods for voice training. For the performer, it proposes a non-aesthetic-specific practical method and terminology, which can be used to work both within and across different vocal techniques as well as between body and voice. It thus aims to broaden the repertoire of approaches to voice work for vocal training and for devising performance.