Abstract
This thesis comprises a portfolio of practical work alongside a written component, constituting a critical commentary based on the dance theatre training and devising framework of Lindsey Brocklebank and her company, Maelstrom Theatre. The thesis considers the relationship between somatic practice, traditional and contemporary actor training methods, and devising modes, adding to an under-researched area of study in dance theatre, character training and creative practice. Since they are part of the author’s understanding of practice research, phenomenology, autoethnography, and action research are core elements of the work investigated within this study and the study’s research methodology. My framework for training and devising is discussed and critically reviewed throughout this thesis. This original framework is the culmination of action research during the rehearsal process, teaching environments and performance evaluation to give students, artists and the company a structure to train and create character in dance theatre. The central idea behind Lindsey Brocklebank’s approach to character creation is rooted in authenticity, which prioritises personal experiences, identities and histories over external impositions or inherited roles. This framework aligns with contemporary understandings of identity formation and self-expression, particularly within gender and societal norms. Throughout this thesis, gaps are identified in the existing literature, and, as a result, new knowledge and insights are gained. This portfolio is intended to provide evidence of the validity of the framework, the training and the original contribution of the thesis to the field of dance theatre research. It serves as a testament to Lindsey Brocklebank's work's practical, academic and training implications.