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Stephanie Daventry French and Philip G. Bennett, Experiencing Stanislavsky Today: Training and Rehearsal for the Psychophysical Actor, London and New York, Routledge, pp. 26-27, 2016.
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2 |
Brian Bates, The Way of the Actor: A Path to Knowledge and Power, Boston, Shambhala Publications, Inc., p. 87, 1987.
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3 |
John Gillett, Acting Stanislavski: A Practical Guide to Stanislavski's Approach and Legacy, London, New York, Oxford, New Delhi, Sydney, Methuen Drama, p. 91, 2014.
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4 |
Sonia Moore, Stanislavski Revealed: The Actor's Complete Guide to Spontaneity on Stage, Applause, p. 105, 2000.
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5 |
Hugh O'Gorman, The Architecture of Action: Late Stanislavski in Contemporary Practice, in Approaches to Actor Training: International Perspectives, eds. John Freeman, London, Macmillan International Higher Education, Red Globe Press, p. 211, 2019.
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6 |
Victoria Worsley, Feldenkrais for Actors: How to Do Less and Discover More, London, Nick Hern Books, pp. 72-73, 2016.
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7 |
Phillip Zarrilli, Jerri Daboo, and Rebecca Loukes, Acting: Psychophysical Phenomenon and Process, Hampshire and New York, p. 18, 2013.
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8 |
Amanda Brennan, The Energetic Performer: An Integrated Approach to Acting for Stage and Screen, London, Singing Dragon, p. 87, 2016.
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9 |
Toby Cole and Helen Krich Chinoy, Actors on Acting: The Theories, Techniques, and Practices of the World's Great Actors' Told in Their Own Words, New York, Crown Publishers, Inc., p. 222, 1970.
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10 |
Victoria Worsley, p. 75.
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11 |
Mihaly Csikszentmihalyi, Flow: The Psychology of Optimal Experience: Steps Toward Enhancing the Quality of Life, New York, Harper Collins Publishers, p. 39, 1991.
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12 |
Hugh O'Gorman, Acting Action: A Primer for Actors, Lanham, Boulder, New York and London, Rowman & Littlefield Publishers, p. 30, 2021.
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13 |
Brian Bates, p. 91.
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14 |
Phillip Zarrilli, On the Edge of a Breath, Looking: Cultivating the Actor's Bodymind Through Asian Martial/Meditation Arts, in Acting (Re) Considered: A Theoretical and Practical Guide, eds. Phillip Zarrilli, London and New York, Routledge, p. 195, 2002.
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15 |
Moshe Feldenkrais, The Potent Self: A Study of Spontaneity and Compulsion, San Francisco, Harper & Row, p. 185, 1985.
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16 |
Hugh O'Gorman, The Architecture of Action: Late Stanislavski in Contemporary Practice, in Approaches to Actor Training: International Perspectives, eds. John Freeman, London, Macmillan International Higher Education, Red Globe Press, p. 211, 2019.
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