A post-psychophysical theoretical and practical framework for performer training is evolving in response to sociological theories of material and immaterial labor, the formulation of “dynamic hybridity” from the field of human geography, and contemporary posthuman thought.

Is practical performance laboratory work feasible within an institutional academic setting? The possibilities for practice as research in contemporary academia is examined through an ongoing research project that focuses on the area between training and performance.

Ingemar Lindh's research on the principles of collective improvisation and performance conceived as process announce an important development in the 20th-century tradition of the actor's work. After early studies with étienne Decroux and working collaborations with Jerzy Grotowski, Eugenio Barba, and Yves Lebreton, Lindh founded the first laboratory theatre in Sweden in 1971, the Institutet fö;r Scenkonst. His practice of collective improvisation is viewed in light of postdramatic concerns such as its resistance to fixed scores, directorial montage, and choreography as an organizing principle.