This thesis is the first full-length study of the experiments in performer training undertaken by Alessandro Fersen in his studio laboratory in Rome between 1957 and 1983 and practiced since then in the codified technique which he calls Mizemodrama ( literally, "a drama of memory"). The purpose of my research is twofold: firstly, to focus on the development of the core technique of mnemodrama which is a theatrical simulation of ritual object manipulation employed by shamans in traditional cultures in order to induce an altered state of consciousness. In Fersen's terms such transic techniques provide the contemporary performer with a psychic training which enables him to explore different aspects of his persona rediscovered from both the autobiographical and archetypal levels of his unconscious. Secondly, the thesis presents a case for viewing Alessandro Fersen as a pioneer of post-war experimental theatre practice, particularly from the standpoint of the interdisciplinary nature of his experiments (theatre combined with anthropology, ethnology and psychology) and his focus on training rather than performance within the confines of a laboratory. The philosophy behind his research, its goals and methodology are therefore compared with those of his more celebrated peers, Jerzy Grotowski, Peter Brook, Richard Schechner and Eugenio Barba. This thesis combines academic research with two periods of observation of the mnemodrama in performance at Fersen's studio in Rome in 1990 and 1992. Subsequently, I was able to introduce Fersen and his work to British academic theatre professionals for the first time at the international conference on Performance, Ritual and Shamanism organised by the Centre for Performance Research and held in Cardiff in January 1993. Finally, the appendices contain Fersen's essential justification for his research, from which the arguments of this thesis have been developed. The appendices also represent the first substantial translation of Fersen's writings on theatre to appear in the English language.

The lack of standardised and structured training, underscored by an academic discourse on film acting, necessitates the designing of a training programme that critically engages with this notion. This study aims to contribute to film acting as a field of study by designing, teaching and assessing the efficacy of a film acting training program. The film acting programme in question addresses the shifts between acting for theatre and acting for film, based on and contributing to scholarly discourse, whilst taking various learning preferences into account. This study makes use of mixed methods to answer the main research question – How does one teach the shifts from theatre acting to film acting? The answer to this question includes defining the shifts from theatre acting to film acting and the means through which these shifts can be taught to individual actors. Four sub-aims are consequently investigated. The first sub-aim examines the performance shifts from theatre acting to film acting. The commonalities in acting in both media are defined, so that the differences may become clear. The findings of sub-aim one serves as impetus for the second sub-aim, which explores several embodied acting approaches to determine how these approaches can be applied to the teaching of the differences between acting for theatre and acting for film. Pedagogical strategies pertaining to teaching and learning are consequently studied, and the elements of these strategies are incorporated in the designing and teaching of the film acting training programme in question (sub-aim three). The final aim focuses on the efficacy of the designed programme. Feedback from the facilitator, the participating actors and a panel of experts is discussed. It is concluded that this study offers a structured film acting training programme that facilitates the shifts from theatre acting to film acting while adhering to students’ thinking and learning preferences. / Thesis (PhD)--University of Pretoria, 2019. / Drama / PhD / Unrestricted