The development of the Mikelang Borg Drama Centre and teaching drama in Malta : local perspectives in theatre pedagogy

Abstract

"At the beginning of a career, training is a way to introduce a young person to a specific theatrical environment. Ifs/he is sufficiently obstinate, perseverant, not self-indulgent, giving up the exercises which have already been mastered and searching for or inventing others, and if, above all, s/he does not say, "It's not useful anymore, the important thing is elsewhere!': then, with time, training will carry this young person towards individual independence. The function of training inverts. At the start, it serves to integrate the beginner into an environment. Later, it serves to protect his/her independence from the very same environment, from the director, from the choreographer, from the spectators. It becomes, as Patrice Pavis said, the performer's 'physical diary'. A diary is not simply a factual account. It can also be a treasure chest of technical, ethical or spiritual riches which can inspire one and upon which one can draw during a creative process." When Eugenio Barba stated this in his book 'The Paper Canoe', he was talking about the journey every aspiring performer has to undergo through training in order to become a truthful and qualitative artist. The journey takes up a process of learning and acquisition of the fundamental basis of theatre techniques so as to develop ones' art with precision and skill. This learning process may be undertaken through various environments of theatre practices. Drama schools form an active part of this environment.