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Amanda Brennan, p. 33, 2016.
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2 |
Sanford Meisner, Sanford Meisner on Acting, Vintage, p. 16, 1987.
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3 |
Erika Fischer-Lichte, The Transformative Power of Performance: A New Aesthetics, London and New York, Routledge, p. 96, 2008.
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Debbie Green, Integrated Movement Practices and the Breath, in Breath in Action: The Art of Breath in Vocal and Holistic Practice, eds. Jane Boston and Rena Cook, London and Philadelphia, Jessica Kingsley Publishers, pp. 163-164, 2009.
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5 |
Amanda Brennan, The Energetic Performer: An Integrated Approach to Acting for Stage and Screen, London, Singing Dragon, p. 63, 2016.
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6 |
Dick McCaw, Training the Actor's Body: A Guide, London and New York, Bloomsbury Methuen Drama, p. 24, 2018.
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7 |
Susan Coromel, How the Michael Chekhov Technique Influences and Supports the Elements of the Sanford Meisner Approach, in Michael Chekhov and Sanford Meisner: Collisions and Convergence in Actor Training, eds. Anjalee Deshpande Hutchinson, London and New York, Routledge, p. 98, 2021.
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8 |
Bella Merlin, Beyond Stanislavsky: The Psycho-Physical Approach to Actor Training, London, Nick Hern Books, p. 178, 2001.
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9 |
Rhonda Blair, The Actor, Image, and Action: Acting and Cognitive Neuroscience, London and New York, Routledge, p. 57, 2008.
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10 |
Anne Dennis, The Articulated Body: The Physical Training of the Actor, London, Nick Hern Books, p. 24, 2002.
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11 |
Meade Andrews and Jana Tift, Your Body Knows: A Movement Guide for Actors, London and New York, Routledge, p. 209, 2020.
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12 |
Hugh O'Gorman, The Architecture of Action: Late Stanislavski in Contemporary Practice, in Approaches to Actor Training: International Perspectives, eds. John Freeman, London, Red Globe Press, pp. 210-211, 2019.
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13 |
Andrea L. Moor, Whole Actor, Whole Person Training: Designing a Holistic Actor Training Programme for Individual Career Longevity and Well-Being, in Approaches to Actor Training: International Perspectives, eds. John Freeman, London, Red Globe Press, p. 38, 2019.
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14 |
Frances Barbe, Embodying Imagination: Butoh and Performer Training, in Intercultural Acting and Performer Training, eds. Phillip B. Zarrilli, T. Sasitharan and Anuradha Kapur, London and New York, Routledge, p. 188, 2019.
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15 |
Phillip. B. Zarrilli, Psychophysical Acting: An Intercultural Approach after Stanislavski, London and New York, Routledge, p. 25, 2009.
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16 |
Amanda Brennan, p. 33, 2016.
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