References
- Adrian, B. 2008. Actor training the Laban way: An integrated approach to voice, speech and movement. New York: Allworth.
- Artaud, A. 1958. Theatre and its double. New York: Grove.
- Beck, J. M. 2010. Alba emoting and emotional melody: Surfing the emotional wave in Cachagua, Chile. Theatre, Dance and Performance Training 1:141−56.
- Boal, A. 1992. Games for actors and non-actors. London: Routledge.
- Bogart, A., and T. Landau. 2006. The viewpoints book: A practical guide to viewpoints and composition. New York: Theatre Communications Group.
- Bresler, L. 2006. Embodied narrative inquiry: A methodology of connection. Research Studies in Music Education 27 (1): 21–43.
- Burton, B. 2002. Staging the transitions to maturity: Youth theater and the rites of passage through adolescence. Youth Theatre Journal 16:63−70.
- Carnicke, S. M. 2009. Stanislavski in focus: An acting master for the twenty-first century. Abingdon, UK: Routledge.
- Carter, M. 2012. The teacher monologues: Exploring the experiences and identities of artist-teachers. Ph.D. diss., Univ. of British Columbia.
- Cooney, M. P., and S. Sawilowsky. 2005. Process drama and actor training. Youth Theatre Journal 19:55−70.
- Cull, L. 2012. Theatres of immanence: Deleuze and the ethics of performance. Basingstoke: Palgrave Macmillan.
- Damasio, A. 1999. The feeling of what happens: Body and emotion in the making of consciousness. New York: Harcourt Brace.
- Edmiston, B. 2012. Dramatic inquiry and anti-oppressive teaching. Youth Theatre Journal 26:105−19.
- Ellsworth, E. 2005. Places of learning: Media architecture pedagogy. New York: Routledge Falmer.
- Evans, M. 2009. Movement training for the modern actor. New York: Routledge.
- Evans, M. 2014. ‘Where does training come from in the body?’: Embodied stories and actor training. Paper presented at the Helsinki International Platform for Performer Training, Helsinki.
- Freire, P. 1970. Pedagogy of the oppressed. Trans. M. Ramos. New York: Seabury.
- Gonzales, J. B. 1999. Directing high school theatre: The impact of student-empowerment strategies and unconventional staging techniques on actors, director, and audience. Youth Theatre Journal 13:4−22.
- Greene, M. 1988. The dialectic of freedom. New York: Teachers College Press.
- Grotowski, J. 1969. Towards a poor theatre. London: Methuen.
- Higgins, C. 2007. Reflections on a line from Dewey. In International handbook of research in arts education, ed. L. Bresler, 389–94. Dordrecht: Springer.
- Hughes, J., and K. Wilson. 2004. Playing a part: The impact of youth theatre on young people’s personal and social development. Research in Drama Education: The Journal of Applied Theatre and Performance 9:57−72.
- Jevne, C. 2003. Discarding the impossible premise: Creating an empathic approach to actor training: Criteria leading to optimal skill development in a safe learning environment. Ph.D. diss., Univ. of Victoria.
- Keefe, J. 2010. A spectatorial dramaturgy, or the spectator enters the (ethical) frame. Performing Ethos 1:35−52.
- Leder, D. 1990. The absent body. Chicago: Univ. of Chicago Press.
- Morrow, S. 2011. Psyche meets Soma: Accessing creativity through Ruth Zaporah’s action theatre. Theatre, Dance and Performance Training 2:99–113.
- Murray, S., and J. Keefe. 2007. Physical theatres. A critical introduction. London: Routledge.
- Neelands, J. 2004. Miracles are happening: Beyond the rhetoric of transformation in the Western traditions of drama education. Research in Drama Education: The Journal of Applied Theatre and Performance 9:47−56.
- Perry, M. 2011a. Devising in the rhizome: The ‘sensational’ body in drama education and research. Applied Theatre Researcher/IDEA Journal 12:3.
- Perry, M. 2011b. Theatre and knowing: Considering the pedagogical spaces in devised theatre. Youth Theatre Journal 25:63–74.
- Pitches, J. 2006. Science and the Stanislavsky tradition of acting. Abingdon: Routledge.
- Richardson, L. 2000. Writing: A method of inquiry. In Handbook of qualitative research, ed. N. K. Denzin and Y. S. Lincoln, 923–48. Thousand Oaks, CA: Sage.
- Silde, M., ed. 2011. Nykynäyttelijän taide [The art of the contemporary actor]. Helsinki: Maahenki.
- Snyder-Young, D. 2011. Rehearsals for revolution? Theatre of the Oppressed, dominant discourses, and democratic tensions. Research in Drama Education: The Journal of Applied Theatre and Performance 16:29–45.
- Springgay, S. 2004. Inside the visible: Youth understandings of bodily knowledge through touch, Ph.D. diss., Univ. of British Columbia.
- Taylor, P. 2006. Returning the aesthetic to the theatre/drama classroom. In Assessment in arts education, ed. P. Taylor, 107–31. Portsmouth, NH: Heinemann.
- Tuisku, H. 2010. Diving in: Adolescents’ experiences of physical work in the context of theatre education. International Journal of Education & the Arts 11, no. 10 (December 3). http://www.ijea.org/v11n10 ( accessed February 6, 2011).
- van de Water, M. 2013. Approaching theory: Scholar and practitioner. Youth Theatre Journal 27:113−20.
- Wangh, S. 2013. The heart of teaching: Empowering students in the performing arts. London: Routledge.
- Wessels, A. 2012. Plague and paideia: Sabotage in devising theatre with young people. Research in Drama Education: The Journal of Applied Theatre and Performance 17:53−72.
- Winnicott, D. W. 1971. Playing and reality. London: Tavistock/Routledge.
- Zarrilli, P. B. 2009. Psychophysical acting. An intercultural approach after Stanislavski. London: Routledge.