Articles On Drama and the Feldenkrais Method

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Amory, Kate. “Acting for the Twenty-First Century: A Somatic Approach to Contemporary Actor Training.” Perfformio 1, no. 2 (2010): 5–20.

Bond, Larua. “From Stress-out to Restored! Somatic Support for Actors,” Sensabiity, accessed September 30, 2020, https://feldenkrais.com/from-stress-out-to-restored-somatic-support-for-actors/.

Camilleri, Frank. “Of Pounds of Flesh and Trojan Horses: Performer Training in the Twenty-First Century.” Performance Research 14, no. 2 (June 2009): 26–34. https://doi.org/10.1080/13528160903319232

Cave, Richard Allen. 2015. “Feldenkrais and Actors: Working with the Royal Shakespeare Company.” Theatre, Dance and Performance Training 6 (2): 174–86. doi:10.1080/19443927.2015.1027454.

Davis, Emily. "Clowning and the Feldenkrais Method." The Feldenkrais Journal: Improvisation no. 27 (2014): 13-15.

Evans, Mark. “Monika Pagneux.” Theatre, Dance and Performance Training 11, no. 3 (July 2, 2020): 324–26. https://doi.org/10.1080/19443927.2020.1788275.

Fredricksson,  Kristin. “Feldenkrais and Training in Puppetry and Material  Performance, Theatre, Dance and Performance Training.” Theatre, Dance and Performance Training, 6, no. 2 (2015): 233–46. https://doi.org/10.%201080/%2019443927.%202015.%201036108.

Hancock, Dianne. “Teaching the Feldenkrais Method® in UK Higher Education Performer Training.” Theatre, Dance and Performance Training 6, no. 2 (May 4, 2015): 159–73. https://doi.org/10.1080/19443927.2015.1043468.

Della Pergolla, Mara. Working with Actors”,  The Feldenkrias Journal, no. 16 (2003), 33-42.

Evans, Mark. “Playing with History: Personal Accounts of the Political and Cultural Self in Actor Training through Movement.” Theatre, Dance and Performance Training 5, no. 2 (May 4, 2014): 144–56. https://doi.org/10.1080/19443927.2014.907823.

Feldenkrais, Moshe. “Image, Movement, and Actor: Restoration of Potentiality.” Translated by Kelly Morris. The Tulane Drama Review 10, no. 3 (1966): 112–26. https://doi.org/10.2307/1125167.

Hayes, M’Lissa. “"Pondering the Rules – and When to Break Them! ".” SensAbility (December 8, 2022). https://feldenkrais.com/pondering-the-rules-and-when-to-break-them-by-mlissa-hayes/.

Kampe, Thomas. “Feldenkrais® for Actors – How to Do Less and Discover More” Review of Feldenkrais® for Actors – How to Do Less and Discover More, by Victoria Worsley., Feldenkrais Research Journal 6 (May 2019). https://feldenkraisresearchjournal.org/index.php/journal/article/view/18.

Kapsali, Maria. “Rethinking Actor Training: Training Body, Mind and … Ideological Awareness.” Theatre, Dance and Performance Training 4, no. 1 (March 2013): 73–86. https://doi.org/10.1080/19443927.2012.719834.

McCaw, Dick. “ Habit: Training and Creativity. Performance Research 28, no. 6 (July 4, 2024): 14–22. https://doi.org/10.1080/13528165.2023.2334613.

McCaw, Dick. "Understand the Meaning of Movement." Theatre, Dance and Performance Training, 6(2) (2015): 219 -232. https://doi.org/10.1080/19443927.2015.1027453

Rahir, Julie-Kazuko. “Tools for the Practice of Acting”. Feldenkrais Research Journal 7 (April 2023). https://feldenkraisresearchjournal.org/index.php/journal/article/view/133

Rotunda , Connie. “Moments of Being: TheFeldenkraisMethod in Actor Training.” The Feldenkrais Journal, no. 29 (2016): 68–72.

Stanton, Luz. Actor Agency and “Resilience: a study of learner autonomy for undergraduate actors using the Feldenkrais Method.”Masters Thesis, Central Queensland University, 2024. https://doi.org/10.25946/25622031

Vesty, R. and De la Fe, A., 2017. On ‘A Piece for Two (Lovers)’–an unrehearsed performance piece. Research in Drama Education: The Journal of Applied Theatre and Performance, 22(1), pp.166-171. (RiDE)