The canon and the contemporary: change, challenge, conceit

Abstract

The canon is widely recognised in drama school training contexts as the dramatic and practitioner texts with which actors can expect to work. The canon studied is often proscriptively - and therefore prohibitively - narrow. These two observations lead to the questioning of who, and for what industry, training actors are being prepared. Articulation of the Western bias and shortcomings of the hegemonic canon is well versed, but alternatives are often predicated on augmentation via addition. Examining and understanding the conceit by which canonical status is ascribed, achieved, and maintained, holds the answer to how the canon can be challenged and changed to allow for culture to evolve, through the plurality of stories and not regurgitation and perpetuation of those already lauded.

Keywords:

• canon
• actor training
• performing arts curriculum
• inclusion
• change

Disclosure statement

No potential conflict of interest.

Correction Statement

This article has been corrected with minor changes. These changes do not impact the academic content of the article.

Additional information

Notes on contributors

Dermot Daly

Dermot Daly is a Senior Lecturer in the School of Performance and member of the EDI Committee at Leeds Conservatoire. His research interests include equality, diversity and inclusion; curriculum reform and implementation; widening participation; and practical drama/acting teaching methodology and practice.