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ABSTRACT
This article follows on from a previous exploration (published in Vol. 6, # 1, May 2018) into the links between current psychological concepts of emotional and spiritual intelligence and Stanislavskian-based principles; here considering how aspects of both might be integrated into current training programmes. The author starts by outlining some key findings from a recent research project and goes on to answer some of the more challenging questions that might be raised against such an approach, before making recommendations for future exploration of the concepts. Current trainers have a responsibility to prepare students not just to “act well” but also to “work well” and – most importantly – to “live well” and this article continues to explore the question of “how?” introduced in Part One.
Disclosure statement
No potential conflict of interest was reported by the author.
Notes
1. Further Education (FE) in the UK is available to students over 16 through work-based learning, or adult and community learning colleges.
2. “EQ” is an abbreviation for “Emotional & Social Intelligence”, as discussed in the research of psychologist and author Daniel Goleman in the 1990s. “SQ” refers to “Spiritual Intelligence”, as defined by Danah Zohar and Ian Marshall in 2001. For more on these terms and their uses, please refer to my previous article – “EQ+SQ = ST2: A Spiritually Intelligent Approach to Actor Training Part One – The Twelve Principles”, published in “Stanislavski Studies” Volume 6, #1, May 2018.
3. Prior, Teaching Actors, 70.
4. Goleman, Social Intelligence, 93.
5. Demidov et al., Nikolai Demidov, 73.
6. See Kemp, Embodied acting.
7. McConachie, Theatre & mind.
8. as cited by Soto-Morettini, The Philosophical Actor, 24.
9. Barrett, How Emotions are Made, xv.
10. Jackson, “Stanislavski, Emotion and the Future,” 76.
11. Demidov et al., Nikolai Demidov, 553.
12. Barrett, How Emotions are Made, 177.
13. Prior, Teaching Actors, 77.
15. Ibid., 55.
16. Barrett, How Emotions are Made, 3.
17. Ibid.,106.
18. Ibid., 180.
19. Goldstein, “The Neuroscience of Learning,” 187.
20. Davidson and Begley, The Emotional Life of Your Brain, 161.
21. Ibid., xvii.
22. Zohar and Marshall, SQ, 129–30.
23. Davidson and Begley, The Emotional Life of Your Brain, 228.
24. Demidov et al., Nikolai Demidov, 14.
25. Stanislavsky, Benedetti and Stanislavski, An Actor’s Work, 210.
26. Prior, Teaching Actors, 25.
27. Strasberg and Cohen, The Lee Strasberg Notes, 5.
28. Chekhov, To the Actor, 174.
29. cited in Soto-Morettini, The Philosophical Actor, 168.
30. See also Donnellan, The Actor and the Target; and Merlin, Beyond Stanislavsky.
31. Alfreds, Different Every Night, 29.
32. Strasberg and Cohen, The Lee Strasberg Notes, 2.
33. Donnellan, The Actor and the Target, 76.
34. Demidov et al., Nikolai Demidov, 748.
35. Prior, Teaching Actors, 55.
36. The third part of an international research project, as organised by The S Word research project (Fryer, “The S Word”).
37. Fryer, “The S Word”.
38. Donnellan, The Actor and the Target, 3.
39. Barrett, How Emotions are Made, 173.
40. Cisheng et al., “The Moderating Role of Spiritual Intelligence,” 78.
41. Donnellan, The Actor and the Target, 31.
42. Rodenberg, Positive presence, 140.
43. Hagen, Respect for Acting, 215.
44. LeDoux, The Emotional Brain, 303.
45. Chekhov, To the Actor, 25.
46. Whyman, “Explanations and Implications of ‘psychophysical’ Acting,” 163.
47. Kinnebrew, “Playing Back Spirituality,”4.
48. Whyman, “Explanations and Implications of ‘psychophysical’ Acting,” 32.
49. Zohar and Marshall, SQ, 12.
50. Demidov et al., Nikolai Demidov, 75.
51. Meisner and Longwell, Sanford Meisner on Acting, 95.
52. Received Pronounciation, or “RP” is an accent of standard English in the UK, traditionally taught in drama schools as the appropriate accent in which to perform classical texts.
53. Demidov et al., Nikolai Demidov, 37.
54. Rodenberg, 58.
55. Barrett, How Emotions are Made, 193.
56. Zohar and Marshall, SQ, 55.
57. Draper, Spiritual Intelligence, 63.
58. Zohar and Marshall, SQ, 296.
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Jane Hensey
Jane Hensey is currently the Head of the MA Musical Theatre Programme at the Royal Conservatoire of Scotland, having previously worked extensively as an Acting Lecturer and Director in Further & Higher Education throughout the UK. She helped to establish the first Foundation Acting course in Scotland with Rose Bruford in 2017 and is particularly interested in promoting health & well-being through curriculum development at all stages of acting & performance training.