References
- Aaron, S. 1986. Stage-Fright: Its Role in Acting. Chicago: The University of Chicago Press.
- Alfreds, M. 2007. Different Every Night: Freeing the Actor. London: Nick Hern Books.
- Arias, G. L. 2019. “In the Wings: Actors & Mental Health a Critical Review of the Literature.” Capstone thesis, Lesley University. Accessed 04 April 2020. https://digitalcommons.lesley.edu/expressive_theses/109/
- Baker, A. K. 2008. “Alba Emoting: A Safe, Effective, and Versatile Technique for Generating Emotions in Acting Performance.” PhD thesis, Brigham Young University. Accessed 15 July 2020. https://scholarsarchive.byu.edu/etd/1457/
- Barker, C. 1977. Theatre Games. London: Methuen.
- Barton, R. 2003. Acting on Stage and Off. Belmont: Wadsworth/Thomson Learning.
- Bates, B. 1986. The Way of the Actor: A New Path to Personal Knowledge and Power. London: Century Hutchinson Ltd.
- Bell, C. 1992. Ritual Theory, Ritual Practice. Oxford: Oxford University Press.
- Bloch, S. 1993. “Alba Emoting: A Psychophysiological Technique to Help Actors Create and Control Real Emotions.” Theatre Topics 3 (2): 121–138. doi:https://doi.org/10.1353/tt.2010.0017
- Brandfonbrener, A. G. 1992. “The Forgotten Patients.” Medical Problems of Performing Artists 7 (4): 101–2.
- Brook, P. 1972. The Empty Space. London: Penguin Books Ltd.
- Burgoyne, S., K. Poulin, and A. Rearden. 1999. “The Impact of Acting on Student Actors: Boundary Blurring, Growth and Emotional Distress.” Theatre Topics 9 (2): 157–179. doi:https://doi.org/10.1353/tt.1999.0011
- Cafasso, J. 2018. “Adrenaline Rush: Everything You Should Know.” Healthline. Accessed 18 January 2020. https://www.healthline.com/health/adrenaline-rush#how-to-control
- Christoffersen, E. E. 1993. The Actor’s Way. London: Routledge.
- Cloonan, D. 2008. “Observations When Counselling Trainee Artists.” Journal of the Australia and New Zealand Student Services Association 31: 42–55.
- Entertainment Assist. 2016. Working in the Australian Entertainment Industry: Final Report. Melbourne: Victoria University.
- Geer, R. O. 1993. “Dealing with Emotional Hangover: Cool-down and the Performance Cycle in Acting.” Theatre Topics 3 (2): 147–158. doi:https://doi.org/10.1353/tt.2010.0035
- Gelernter, D. 2016. The Tides of Mind: Uncovering the Spectrum of Consciousness. New York: Liveright Publishing Corporation.
- Giles, D. 2011. “Stage-Fright, Well-being and Recovery Survey Results.” BAPAM. Accessed 12 July 2020. https://www.bapam.org.uk/category/research/page/2/
- Goffman, E. 1959. The Presentation of Self in Everyday Life. London: Penguin.
- Gray, P., V. Soloviova, S. Adler, and S. Meisner. 1964. “The Reality of Doing.” The Tulane Drama Review 9 (1): 136–155.
- Grotowski, J. [1968] 1975. Towards a Poor Theatre. London: Methuen Drama.
- Hagen, U. 1973. Respect for Acting. Hoboken: John Wiley & Sons, Inc.
- Hagen, U. 1991. A Challenge for the Actor. New York: Scribner.
- Hague, D. and J. S. Sandage. 2016. “Evaluating the Effects of Stress Reduction Techniques and Fitzmaurice Voicework® on Physiologic Markers and Mental States Related to Performance Anxiety in Student Actors.” Voice and Speech Review 10 (2–3): 121–130. doi:https://doi.org/10.1080/23268263.2016.1355518
- Halebsky, J. 2013. “Constellation Translation: A Canadian Noh Play.” Theatre Research in Canada 34 (1): 56–73. doi:https://doi.org/10.3138/tric.34.1.56
- Hamilton, L. H. 1997. The Person behind the Mask: A Guide to Performing Psychology. Greenwich, CT: Ablex Publishing Corporation.
- Hetzler, E. T. 2008. “Actors and Emotion in Performance.” Notes and Queries. Accessed 19 April 2020. https://scholar.google.co.uk/citations?user=J9EqsE4AAAAJ&hl=en
- Hormone Health Network. 2018. “Adrenaline.” Endocrine Society. Accessed 22 January 2020. https://www.hormone.org/your-health-and-hormones/glands-and-hormones-a-to-z/hormones/adrenaline
- Jones, H. 2014. Managing Performance Stress Examining the role of EMDR in Vocal Training. The Centre for Voice in Performance at The Royal Scottish Academy of Music & Drama. Accessed 11 April 2020. https://www.google.com/search? client=firefox-b-d&ei=-CMLX4_qHIq_gQaI1JbQAQ&q=+Managing+Performance+ Stress+Examining+the+role+of+EMDR+in+Vocal+Training&oq=+Managing+Performance+ Stress+Examining+the+role+of+EMDR+in+Vocal+Training&gs_lcp=CgZwc3ktYW IQAzoICAAQ6gIQjwFQoLgSWLrOEmDT0RJoAXAAeAGAAV6IAV6SAQExmAECoAEBoAECqgEHZ3dzLXdperABCg&sclient=psy-ab&ved=0ahUKEwiPxvjs-8fqAh WKX8AKHQiqBRoQ4dUDCAs&uact=5
- Kalabria, K. 2017. “How to Avoid Burnout, 1 Actor to Another.” Backstage. Accessed 18 January 2020. https://www.backstage.com/magazine/article/secret-avoiding-burnout-actor-3002/
- Kalawski, J. P. 2011. “Using Alba Emoting™ to Work with Emotions in Psychotherapy.” Counselling Centre. University of Louisville. Accessed 18 July 2020. https://www.academia.edu/19673035/Using_Alba_Emoting_to_work_with_emotions_in_psychotherapy
- Konijn, E. 2000. Acting Emotions: Shaping Emotions on Stage. Amsterdam: Amsterdam University Press.
- Kurtz, A. 2011. “Completing the Circle: The Actor's Cool Down.” Masters thesis, Virginia Commonwealth University. http://docplayer.net/91069768-Completing-the-circle-the-actor-s-cool-down.html
- Labędzka, I. 2008. Gao Xingjian’s Idea Theatre: From the Word to the Image. Boston: Brill.
- Littlehales, N. 2016. Sleep: The Myth of 8 Hours, the Power of Naps…and the New Plan to Recharge Your Body and Mind. Milton Keynes: Penguin Random House UK.
- Loewenstein, G. 1996. “Out of Control: Visceral Influences on Behaviour.” Organizational Behaviour and Human Decision Processes 65 (3): 272–292. doi:https://doi.org/10.1006/obhd.1996.0028
- Luckhurst, M., and C. Veltman. 2001. On Acting: Interviews with Actors. London: Faber and Faber Ltd.
- Mandell. J. 2017. “Cooling Down: How Actors Unwind after Taxing Performances.” American Theatre A Publication of Theatre Communications Group. Accessed 27 October 2018. https://www.americantheatre.org/2017/04/05/cooling-down-how-actors-unwind-after-taxing-performances
- Marowitz, C. 1978. The Act of Being. London: Martin Secker & Warburg Limited.
- Mast, S. 1986. Stages of Identity: A Study of Actors. Aldershot: Gower Publishing House Limited.
- Maxwell, I., M. Seton, and M. Szabó. 2019. “The Australian Actors’ Wellbeing Study: A Preliminary Report.” About Performance. Semantic Scholar, No13, 69–113. Accessed 15 July 2020. https://www.semanticscholar.org/paper/The-Australian-Actors%27-Wellbeing-Study%3A-A-Report-Maxwell-Seton/b47afe68cedfd2b8695f4 42841dba6788fff418d
- Meyer-Dinkgräfe. 2013. Theatre Opera and Consciousness: History and Current Debates. Amsterdam: Brill-Rodopi.
- Mitchell, K. 2009. The Director’s Craft. Abingdon: Routledge.
- Nicholson, H. 2013. “Emotion.” Contemporary Theatre Review 23 (1): 21–22. doi:https://doi.org/10.1080/10486801.2013.765106
- Orzechowicz, D. 2008. “Privileged Emotion Managers: The Case of Actors.” Social Psychology Quarterly 71 (2): 143–156. doi:https://doi.org/10.1177/019027250807100204
- Panero, M. E. 2019. “A Psychological Exploration of the Experience of Acting.” Creativity Research Journal 31 (4): 428–442. doi:https://doi.org/10.1080/10400419.2019.1667944
- Panoutsos, C. 2017. “Cool-down for Actors or the Perpetual Performer?” Unpublished master’s diss., Royal Holloway University.
- 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:https://doi.org/10.1080/19443927.2014.993568
- Read, A. 1995. Theatre and Everyday Life: An Ethics of Performance. London: Routledge.
- Ridder, D., F. Kroese, M. Adriaanse, and C. Evers. 2014. “Always Gamble on an Empty Stomach: Hunger Is Associated with Advantageous Decision Making.” PLoS One.
- Robb, A. E. 2017. “Exploring Psychological Wellbeing in Actors: A Qualitative Study of Professionals and Students.” PhD thesis, The University of Adelaide.
- Sacay-Bagwell, M. 2013. “Emotional Hangover: What Is it? How Can Actors Avoid or Overcome It?” Brethxpress. Accessed 14 July 2020. https://breathxpress.wordpress.com/2013/04/09/539/
- Saivetz, D. 1998. “An Event in Space: The Integration of Acting and Design in the Theatre of JoAnne Akalaitis.” TDR 42 (2): 132–156.
- Schatzman, L., and A. Strauss. 1973. Field Research: Strategies for a Natural Sociology. Englewood Cliffs, NJ: Prenitice Hall.
- Schechner, R. 1983. Performative Circumstances: From the Avant Guard to Ramlila. Culcutta: Seagull Books.
- Schechner, R. 1985. Between Theatre and Anthropology. Philadelphia: Pennsylvania University Press.
- Schechner, R. 2002. Performance Studies: An Introduction. London: Routledge.
- Scheiffele, E. 2001. “Acting: An Altered State of Consciousness.” Research in Drama Education 6 (2): 179–191. doi:https://doi.org/10.1080/13569780120070722
- Seton, M. 2008. “‘Post-Dramatic’ Stress: Negotiating Vulnerability for Performance.” University of Sidney. Accessed 10 April 2020. https://www.academia.edu/242592/_Post-Dramatic_stress_Negotiating_Vulnerability_for_Performance
- Seton, M. 2009. “The Gilbert Spottiswood Churchill Fellowship to study holistic healthcare of actors in training and in the workplace.” The Winston Churchill Memorial Trust of Australia, 1–75. Accessed 11 July 2020. https://www.academia.edu/1185733/ChurchillReport_Actors_HealthcareUK?auto=download
- Seton, M., I. Maxwell, and M. Szabó. 2019. “Warming up/Cooling Down: Managing the Transition on and off Stage.” Theatre, Dance and Performance Training 10 (1): 127–141. doi:https://doi.org/10.1080/19443927.2018.1551813
- Shank, T. (1969) The Art of Dramatic Art. Belmont: Dickenson Publishing Company Inc.
- Simkins, M. 2009. “When the going gets tough.” The Guardian, May 9. Accessed 07 February 2020. https://www.theguardian.com/stage/2009/may/09/tips-surviving-acting-industry
- Simkins, M. 2019. “Only 2% of actors make a living. How do you become one of them?” The Guardian. June 5. Accessed 07 February 2020. https://www.theguardian.com/film/shortcuts/2019/jun/05/only-2-per-cent-of-actors-make-a-living-how-do-you-become-one-of-them
- Steptoe, A., F. Malik, C. Pay, P. Pearson, C. Price, and Z. Win. 1995. “The Impact of Stage-Fright on Student Actors.” British Journal of Psychology 86 (1): 27–39. doi:https://doi.org/10.1111/j.2044-8295.1995.tb02544.x
- Swain, R. 2011. Directing: A Handbook for Emerging Theatre Directors. London: Bloomsbury.
- Szlawieniec-Haw, D. I. 2020. Fictions Truth: The Consequence of Representing Human Suffering, Distress, and Violence in Performing. New York: Routledge.
- Taylor, S. L. 2016. “Actor Training and Emotions: Finding a Balance.” PhD thesis, Edith Cowan University. Accessed 10 April 2020. https://ro.ecu.edu.au/theses/1804
- Thomson, P., and S. V. Jaque. 2012. “Holding a Mirror up to Nature: Psychological Vulnerability in Actors.” Psychology of Aesthetics, Creativity, and the Arts 6 (4): 361–369. doi:https://doi.org/10.1037/a0028911
- Thomson, P., and S. V. Jaque. 2017. Creativity and the Performing Artist: Behind the Mask. Northridge: Academic Press.
- Unwin, S. 2004. So You Want to Be a Theatre Director? London: Nick Hern Books.
- Wangh, S. 2000. An Acrobat of the Heart: A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski. New York: Vintage Books
- Wigmore, L. 2018. “Acting out Trauma: The Psychological Impact of Being a Professional Actor.” Masters diss., Brunel University London.
- Williams, E. F., D. Pizarro, D. Ariely, and D. J. Weinberg. 2016. “The Valjean Effect: Visceral States and Cheating.” American Psychological Association 16 (6): 897–902. doi:https://doi.org/10.1037/emo0000158
- Wilshire, B. 1982. Role Playing and Identity: The Limits of Theatre as Metaphor. Bloomington: Indiana University Press.
- Wolf, V. A. 2018. “Dance/Movement Therapy Techniques for Helping Actors Exit Character and Emotion: A Program Development Project.” Masters thesis, Columbia College Chicago. Accessed 9 April 2020. https://digitalcommons.colum.edu/theses_dmt/110/
- Wolford, L., and R. Schechner. 1997. The Grotowski Sourcebook. New York: Routledge.
- Zucker, C. 2002. Conversations with Actors: On Film, Television and Stage Performance. Portsmouth: Heinemann.
- Virtual Medical Centre. 2018. “Lexotanil.” Accessed 23 January 20. https://www.myvmc.com/drugs/lexotan/
Interviews and correspondence
- Actor 1, interview with author, Athens, Greece, 28 December 2016.
- Actor 2, interview with author, Athens, Greece, 22 December 2016.
- Actor 3, interview with author, London, UK, 17 February 2107.
- Actor 4, skype interview with author, 11 January, 2017.
- Actor 5, email communication with author, 16 March 2019.
- Actor 6, email communication with author, 21 March 2019.
- Actor 7, email communication with author, 28 March 2019.
- Actor 8, email communication with author, 5 June, 2019.
- Actor 9, email communication with author, 13 June 2019.
- Actor 10, email communication with author, 03 August 2019.
- Actor 11, email communication with author, 15 August 2019.
- Actor 12, telephone interview with author, 16 August 2019.
- Actor 13, interview with author, London, UK, 04 October 2019.
- Actor 14, interview with author, London, UK, 16 October 2019.
- Actor 15, email communication with author, 28 December 2019.
- Actor 16, interview with author, Athens, Greece, 30 December 2019.
- Deborah Saivetz, email communication with author, 01 March 2019.
- Joan MacIntosh, email communication with author, 19 May 2019.