About

After working as a youth worker, a social worker, physical education teacher and performer, I graduated from the Director’s course at NIDA in 1988. Directing credits include over 50 productions at venues such as: the NIDA Theatre, Sydney; the Adelaide Festival; Bay Street Theatre; Wharf Theatre; Sydney Theatre Company; Belvoir Theatre, Colorado College Theatre; and Mondavi Center, UC Davis. Teaching includes universities in the United States, Australia and Korea.

I developed a shamanic approach to acting as part of her doctorate from University of Technology, Sydney, and has presented workshops and papers on her work at conferences around the world. She has also directed and devised numerous productions for local and regional theatres, youth theatres, and educational institutions.

I was a Visiting Scholar at the Tisch School of the Arts in 1996 for three months with the good fortune of attending classes taught by Peggy Phelan, Richard Schechner and Michael Taussig (Through Columbia University). With Daniel Meyer-Dinkgrafe I founded the Performance and Consciousness working group for the International Federation of Theatre Research in 2006.  https://www.iftr.org/

My research revolves around actor training, consciousness, the relationship between the actor and the audience and theatre as a tool of communication. It now also focuses on screen studies, particularly feminist film studies.

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Who I Am

Who I Am

I live in Oregon, currently a writer, of poetry, plays and academic articles and books. Life amazes me and my faith in the arts as a landscape and site where we all can converse is as strong as ever. Artists bring us to the edge of understanding, affording us a peek through the crack in the sky or the earth. I am so thankful to have worked and to be working in the arts and for the artists in this world.

I am currently engaged in a second doctorate in Film Studies through Melbourne University under Barbara Creed. I began this foray into the dense world of feminist film studies while I was a care giver for my mum in Daylesford. I had always intended to study feminist theory….and am very lucky to find such an amazing mentor and supervisor. The dissertation is due in 2017 and I might just make it, it’s a lot of thinking and writing ~ the topic is Syncope: The Absence of the Female from Social Scape. I belong to  the Playwrights Lab in Corvallis, Oregon and a poetry group in Corvallis, reading my poetry every now and then at Imaging Coffee, (a very cool space) Corvallis.

As a past practitioner and theorist of actor training and theatre I have developed my research in several ways. As a practitioner, I have directed productions while training the actors with the shamanic and Body Energy Centre (BEC) approach I have developed as part of my research into actor training methodology. My book on this approach to actor training Awakening the Performing Body is currently in press with Rodopi press published April 2008 as well as a DVD documentary on the training exercises held in the UTS library.. I have also developed with Dr John Galland, a theatrically informed practical training method for scientists called LabAct. Dr. Galland and I were successful in receiving a $161,000 grant from the Office of Research Integrity in the Department of Health and Human Services for the development of laboratory management training materials that will make online instruction widely available to graduate students, postdocs, faculty and other personnel

My research focus for the last four years stems from actor training, consciousness studies and the notion of the actor as shaman, investigating the actor and the altered creative state. I developed a course, Contemporary Shamanism for Freshman at UC Davis and taught Shamanic Traditions in South East Asia for 5 years in Summer School at Yonsei University, Korea. I have just completed editing a volume for Palgrave Macmillan, Embodied Consciousness Performance Technologies, published 2013 bringing together many different approaches to performance training and techniques via the lens of consciousness.

My very first job on the earth was as a waitress and I still feel very connected to the essence of that work.

 

 

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What I Do

What I Do

As a researcher and director I work in three distinct areas;
1) I have presented and published numerous papers, articles and chapters on this approach to actor training.
2) I have developed the use of theatre as a tool for change, a tool for communication and a tool for education through LabAct.

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Jade Rosina Mc Cutcheon

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