https://orcid.org/0000-0002-6214-3504
References
- Balk, H. 1991. The Radiant Performer. Minneapolis: University of Minnesota.
- Barba, E. 1995. The Paper Canoe: A Guide to Theatre Anthropology. Translated R. Fowler. London: New York: Routledge.
- Bogart, A., and T. Landau. 2005. The Viewpoints Book: A Practical Guide to Viewpoints and Composition. New York: Communications Group.
- Braidotti, R. 2019. Posthuman Knowledge. Cambridge: Polity Press.
- Camilleri, F. 2019. Performer Training Reconfigured: Post-Psychophysical Perspectives for the Twenty-First Century. London: Bloomsbury.
- Climenhaga, R. 2010. “Anne Bogart and SITI Company: Creating the Moment.” In Actor Training, edited by A. Hodge, 288–304. 2nd ed. New York: Routledge.
- Dewey, J. 1983. “Human Nature and Conduct: An Introduction to Social Psychology.” In The Middle Works of John Dewey, 1899-1924. Volume 14: 1922 Human Nature and Conduct, edited by J. A. Boydston, 1–227. Carbondale: Southern Illinois University Press.
- Gallagher, S. 2005. How the Body Shapes the Mind. Oxford: Oxford University Press.
- Gallese, V. 2021. “Brain, Body, Habit and the Performative Quality of Aesthetics. Habits: Pragmatist Approaches from Cognitive Neuroscience to Social Science edited by I. Testa and F. Caurana, insert page numbers here. Cambridge: Cambridge University Press, in press (376–394). Accessed 5 July 2020. 10.31234/osf.io/sge5m.
- Heddon, D., and J. Milling. 2006. Devising Performance: A Critical History. Hampshire: Palgrave Macmillan.
- Johnson, M. 1987. The Body in the Mind: The Bodily Basis of Meaning, Imagination and Reason. Chicago: University of Chicago Press.
- Kapsali, M. 2013. “Rethinking Actor Training: Training Body, Mind and … Ideological Awareness.” Theatre, Dance and Performance Training 4 (1): 73–86. doi:10.1080/19443927.2012.719834.
- Kapsali, M. 2021. Performer Training and Technology: Preparing Our Selves. London: Routledge.
- Lakoff, G. 1987. Women, Fire and Dangerous Things: What Categories Reveal about the Mind. Chicago: University of Chicago Press.
- Matthews, J. 2019. Life of Training. London: Methuen Philosophy.
- Maxwell, I., M. Seton Mark, and M. Szabó. 2015. “The Australian Actors’ Wellbeing Study: A Preliminary Report.” About Performance 13: 69–113. https://search.informit.org/doi/10.3316/informit.499926749273237.
- McNamara, A. 2018. “Acting.” In Exploring Pedagogic Frailty and Resilience: Case Studies of Academic Narrative, edited by I. M. Kinchin and N. E. Winstone, 151–168. Boston: Brill.
- Prior, R., I. Maxwell, M. Szabó, and M. Seton. 2015. “Responsible Care in Actor Training: Effective Support for Occupational Health Training in Drama Schools.” Theatre, Dance and Performance Training 6 (1): 59–71. doi:10.1080/19443927.2014.993568.
- Sheets-Johnstone, M. 1998. “Consciousness: A Natural History.” Journal of Consciousness Studies 5 (3): 260–294.
- Sheets-Johnstone, M. 2011. The Primacy of Movement. Expanded 2nd ed. Amsterdam: John Benjamins Publishing Company.
- Stengers, I. 2010. Cosmopolitics 1, Translated by R. Bononno. Minneapolis: University of Minnesota Press.
- Watson, I. 2001. Performer Training: Developments across Cultures. Amsterdam: Overseas Publishers Association.
- Zarilli, P. 2002. Acting (Re)considered: A Theoretical and Practical Guide. Second ed. New York: Routledge.
- Zarilli, P. 2009. Psychophysical Acting: An intercultural approach after Stanislavski. London: Routledge.