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Responsible care in actor training: Effective support for occupational health training in drama schools
Abstract
How actors are adequately prepared for their lifetime of work can be a vexed issue. However what is emerging in the field is data that suggests more can be done to prepare those entering the acting profession and to support actors throughout their career development. This article argues that teaching staff, support staff and industry partners might usefully enter into conscious dialogue with each other about ensuring a healthier interplay between students' developmental needs, course expectations and workplace culture. Otherwise, students can be caught in a dilemma between accessing personal and interpersonal support as well as being professional and industry-ready.
... The early decades of this century have seen a growing culture of examination and evaluation in western approaches to drama schools and acting conservatoires (McNamara 2018). This aligns with increased scrutiny of the industry in general and a growing expectation of self-responsibility and ethical practice among actors. ...
... Ian Watson (2001) suggests that this failure is due to the corruption of what had been a clear focus on the actor and 'a means for each actor to explore his or her own creative potential and extend his or her psycho-physical limitations as a performer rather than with developing a universal training model that can be transmitted from teacher to actor (Watson 2001, 7). Prior et al. (2015) critique 'the power and control that many actor trainers either wittingly or unwittingly exercise', calling for greater responsibility and care in institutions in which 'the role of the trainer must be fully examined' (Prior et. al. 2015, 58). ...
... roportion of pedagogically dialectic processes intrinsically embedded within the methodologies is limited (McNamara 2018, 152). This external expert undermines the principal purpose of the training as an environment of incremental skill acquisition, mastery and flexibility, and self-management within perceptual, emotional, and physical activities. Prior et. al. 2015(citing Balk 1991 champion the essential element of the novice's agency as foundational. Learners must be supported to learn through their own experience and 'be released from dependency upon external authority figures' (Balk 1991, 164 cited in Prior et. al. 2015. Training environments should strive to enhance and enrich student actor le ...
This article investigates how deeply engaging embodied perception can be nurtured and refined over a lifetime. In this article, we propose the ways in which an industry-based, self-styled performance training trajectory and a DIY approach to lifelong learning in performance-making cohere as an ecology of practice. Selected exercises are drawn on to consider how skills are accrued and how a consistent approach to practice can afford the practitioner a sustainable and flexible approach. These training examples are then considered as enablers of kinesthetic listening and embodied knowledge through the theorising of Maxine Sheets-Johnstone, George Lakoff, Mark Johnston and Shaun Gallagher, in order to discuss the deep perceptual learning that is possible when an ecological approach to performer training is adopted. Finally, we open up the paper to a broader discussion about industry sustainability and performer wellbeing, arguing for this ecological approach, which affords the practitioner aesthetic agency, social responsibility, and political engagement, as a crucial contribution to the debate.
... An important feature of the transformation processes of contemporary stage art is the integration of innovative digital technologies into the usual artistic space in order to create exciting and new performances of the twenty-first century. The equivalence of audio and visual elements of the contemporary stage space within the framework of shaping the audience's creative imagination and influencing its consciousness has been taking on different manifestations and forms throughout the development of theatre art (Prior et al., 2015). As a result, there are now many possibilities for integrating innovative visual and tonal effects to create exciting and complex performances on stage. ...
The development of modern art education is closely related to the use of digital technologies. The purpose of the article is to analyse the adaptation of higher art education to the requirements of the modern digital era, to study the integration of technologies and virtual platforms into the educational process through the prism of training in higher art education. In order to achieve this goal, the researcher used certain methods of scientific knowledge, which provided a thematic analysis of professional literature and a comparison of existing experiences with the Ukrainian realities of the use of digital technologies in acting education. As a result of the step-by-step study, it was noted that the tools of digital platforms and virtual reality are well integrated into teaching in art education. This allows interaction with higher education students in a remote mode without compromising the quality of education and its level. It also enables students to build digital portfolios and continue their lifelong learning. The conclusions state that the use of digital technologies in education has a significant challenge - the need for teachers to be proficient in the following tools and to use them to the maximum benefit of learning.
... Therefore, an adequate physical conditioning is the key element to reduce the risk of injuries and enhance performance (Ramirez, 2005), as recommended by the European Federation of Professional Circus Schools (FEDEC) (Demey & Wellington, 2010). The training workload may affect health, wellbeing and artistic performance; it is definitely a critical issue to protect circus students, to optimize the economical investment and to enhance quality of performance (Wanke et al., 2012;Prior et al., 2015), mainly concerning the contemporary circus (Decker, 2020). ...
Problem Statement. Professional education in circus has been increasing worldwide, placing the training programmes at the center of circus debate. Purpose. Concerning the physical demands of circus students, this research describes the body composition of Brazilian National Circus School students. Approach. Skinfold analyses was used to estimate body fat (%), fat free mass (kg) and body mass index (kg/m-2) in 57 students (n= 30 men, n= 27 women). Results. Men presented higher body weight, height, fat free mass (men 67.2 ± 7.0 kg and 45.7 ± 4.7 kg and for women), body mass index (men 24.1 ±1.6 kg/m2 and women 21.4 ± 2.0 kg/m2) and lower body fat (%) compared to women (men 7.2 ± 3.7 % and women 16.3 ± 3.7). The reassessment showed no differences in body composition for both sexes, a large heterogeneity of interindividual responses was observed (-3.9 to 4.0 for women; -1.5 to 6,5 men). Conclusions. The body fat and body mass index are similar to high performance athletes. No difference was observed between the assessments. The interindividual response to training showed no effect on body fat. However, the interindividual heterogeneity responses suggest adjustments of physical conditioning protocol in order to optimize the responses individually. The 7 or 3 skinfold protocol did not differ on the outcomes. Body composition of circus students’ needs to take into account the circus disciplines, age and biological diversity, and it is a key aspect to monitor training to avoid unsafe situations or unhealthy status. Keywords: performing arts; anthropometry; body mass; physical training.
... This paper re-engages with the actors' cool-down phasere-engages, as Schechner (1983) has been verbalising the absence of systematic postperformance processes since the mid-80s: 'little work has been done on the "cool-down," at least in the Euro-American tradition ' (1983, 97). Since then, there has been a gradual emergence of researchers echoing these concerns, including Geer (1993), Bloch (1993), Burgoyne, Poulin, and Rearden (1999), Seton (2008Seton ( , 2009, Kurtz (2011), Meyer-Dinkgr€ afe (2013), Maxwell, Seton, and Szab o (2015), Taylor (2016), and Mee (Mandell 2017). Moreover, sixteen contemporary actors' accounts confirm the 'asymmetry' between the warm-up and the cool-down (Seton, Maxwell, and Szab o 2019, 131). ...
Professional actors learn and generally conduct warm-up processes, which prepare them for the demands of performance. However, they neither learn nor gradually develop post-performance cool-down practices, despite significant activation experienced; this absence is identified as a gap in the actor’s training and practice. During the post-performance phase, actors experience adrenaline rush, hot states (emotions) and visceral drives (hunger, thirst, pain or exhaustion), regularly and up to 8 times a week, for weeks or months at a time. Moreover, established cultural norms require the actors’ engagement in perpetual performance; the blending of artistic and social performance, which further exacerbates their considerable exertion, especially when combined with alcohol, rendering them exposed to disturbed sleep, alcohol dependency and burn-out. In the first part of this paper, the cool-down is located strictly as a post-performance phase, rather than therapy and distinguished from the de-role and the de-brief, whilst six cool-down processes reflected in literature are evaluated. The second part highlights the imbalance between the emerging academic interest in the cool-down and the lack of practice indicated in contemporary professional stage actors, suggesting that training environments could do more to incorporate the concept and practice of the post-performance cool-down for their actors.
... It seems that he attributes his self-actualisation synonymously with becoming a good teacher. Consistent with positive teacher research, Clayton's story reveals his confidence and comfort in his teaching role as a result of his years of teaching experience (Carrillo & Flores, 2017;Thorburn, 2011) complimented by reputable industry experience (Brestoff, 1995;Prior et al., 2015). ...
Through a phenomenological lens of portraiture methodology, this article explores the career experiences of a veteran acting teacher who, at the age of 85 years, remains highly passionate and dedicated to his work with younger aspiring actors. The article reveals how for this veteran teacher, his strong teacher identity characterised by a quest for challenge and a commitment to career-long professional development are significant to maintaining relevance and passion for teaching. As many countries grapple with issues surrounding the retention of veteran teachers, understanding the ways in which he maintains his passion and commitment over succumbing to stress and burn out like so many teachers in the performing arts is timely.
... While the concept of ergonomics has largely been associated with a drive to increase active, productive labour, it has seldom been applied to creative labour taking place in theatrical settings. Performing in and for theatre remains a hazardous occupation (Prior et al. 2015). Thinking through the ageing and occupationally damaged bodies of the Shigang Mamas in performance, I move on here to consider probody aesthetics through the lens of ergonomic practices, with a focus on the somatic, physical and collaborative aspects of theatre-making. ...
Through this reflection on ageing and occupationally damaged bodies in performance, I argue that a probody aesthetics is fundamental to generating and sustaining care in community-engaged theatre projects. Such aesthetics is concerned with adopting a body-centric approach to making community-engaged theatre and arts, which insists artistic creations and acts of creation could be a form of care provision. Informed by the medical sciences, probody aesthetics consciously highlights care at the level of anatomy and biomechanics. In this article, I propose somatic ergonomics, physical ergonomics and collaborative ergonomics as ways of advancing understanding of probody aesthetics towards implementable practices.
... Vocational training is the accepted pathway to professional practice for actors ( Seton, 2009), and areas of concern therefore need to be addressed in this context ( Seton et al., 2013). In the training literature, while acting pedagogy is a subject of ongoing interest (for recent examples, see Wangh, 2013, Prior et al., 2015), research investigating student actors' PWB is scarce ( Prior et al.). Furthermore, acting training has not been examined through the lens of contemporary psychological science, despite requiring trainees to work intensively with the material and processes of their own minds (along with the mind/body connection, Middleton, 2012). ...
Student actors in professional training are potentially vulnerable to difficulties with their psychological wellbeing, but there has been little research to date investigating the positive and negative impacts of this unique environment and training process. The current study uses contemporary psychological theory and qualitative methodology to explore the perceptions of both acting students and their trainers. Seven acting students and eight trainers from two institutions were interviewed in-depth and the data analysed using thematic analysis. The findings were clustered into three domains of experience: the conservatoire (environmental/cultural factors), acting training (process factors) and student qualities (individual factors). Influences on students' psychological wellbeing included: complex personal relationships, intense workload, chronic uncertainty, perfectionism, personal strengths, mental health difficulties, identity de-stabilisation, growth and feeling exposed. An important unresolved question arose: when is acting training dangerous? Practical implications included: building mental health literacy, increasing students' feelings of competence, fostering students' ability to tolerate stress and uncertainty and employing a specialist clinician. There is vast scope for future research, particularly in clarifying the wellbeing challenges in training and identifying appropriate, evidence-based interventions for use in this unique environment.
Australian researchers have reported concerns about the health and wellbeing of those who work in the entertainment industries, citing mental health problems, excessive drug and alcohol use and suicidality. They also noted that 63% of actors earn less than the minimum wage (42,255). They found problems related to economic and psychological wellbeing and extreme states of stress amongst those surveyed (Maxwell et al. in About Performance (13):69–113, 233–235, 2015). Complaints by actors about inappropriate behaviour, two high-profile legal cases and the #MeToo movement have led to curriculum initiatives to address student wellbeing during training. This chapter explores new initiatives for intimacy training and holistic student wellbeing in two Australian tertiary drama programs, in which the traditional methods of actor training already in use are combined with a range of new protocols for staff and students relating to the choreography of intimacy, education around consent and working within an ethic of care.
Nowadays scientific studies in field of counseling psychology describe the actor's profession as extremely high- pressured and demanding throughout all stages of this career. Researchers are concerned about the wellbeing of people in the acting industry and note the influence of a wide range of factors that put pressure on their physical and mental health and well-being. The present study investigates from an existential-analytical point of view the question: what can help people who have chosen this career path to deal with the specific stressors "behind the scenes”? Its aim is to examine the impact of personal abilities for existential fulfilment: self-distance, self- transcendence, freedom, and responsibility, measured by the Existence Scale (ES), on the level of perceived acting- related stress, measured by the Acting-Related Stress Questionnaire (ARS). 144 (86 female and 58 male) professional Bulgarian actors aged 18 to 85 (average age 33,7 years) participated in the research. The personal abilities impact has been assessed by regression analysis in two groups: working professional actors N=111 and acting students N=33. A statistically significant negative relationship was deduced between the indicators for existential fulfilment and the level of perceived acting-related stress. The study reveals the existential fulfilment parameters have a more manifested impact in the acting students’ group. As for the professional actors, the results reveal a medium in strength and negative in direction statistically significant predictive impact. For both groups, the results show that the personal existential abilities` development (in the sense of Längle` Existential Analysis theory) can predict lower levels of perceived acting-related stress. The study’s outcome can be used in individual counseling and socio-psychological training.
Zero Zone praxis (ZZ) can increase a performer’s craft and personal life quality, thereby satisfying the need for personal enhancement—a need that recent writings about performing arts and executive coaching have identified. ZZ is designed to improve the ability to avoid the detrimental effects of stage fright that often rest on the actor-director dyad, via expanding consciousness and focus guiding. ZZ includes external and internal psychosomatic actor training and intellectual appreciation of consciousness as derived from yoga philosophy and practice and from coaching. This essay is a discussion of the need to develop an elevated internal state of the performer, to unlock the blockages in the performer and in a spectator’s reception. I introduce here a critical review of scholars’ findings and my personal, practical experiences of forty years in Stanislavskian and physical theatre-making, self-cultivation coaching, and yoga.
This article addresses staff- and student wellbeing in performer training by acknowledging and engaging with the role of the pedagogue in the complex grey area of training where we are not doing therapy, but also not not doing therapy. In doing so it seeks to open up for scrutiny and productive exchange an aspect of training that is often present but rarely discussed in pedagogical terms. The article highlights ways in which the transdisciplinary ‘third space’ between training and therapy draws attention to itself in training moments, and conceptualises this ‘third space’ by drawing on notions of ‘being with’ and ‘thirdness’ in radical pedagogy and relational therapeutic approaches. Drawing on autoethnographic examples of teaching practice, the article then looks at this ‘third space’ of complexity more closely as a reality that many teachers live in; begins to outline some of its possibilities in relation to the notions of resourcing, rhythm, and radical believing; and through that, proposes implications for future practice.
It is generally assumed that visible actors in the performing arts industry maintain overall wellness despite the knowledge that an actor’s life is often characterized by instability. While an actor’s performance is often critiqued subjectively and critically, the variety of occupational risks associated with an actor’s well-being is less closely examined. Prior research suggests those working within the acting profession experience significant levels of distress. As a result, this article, first, aims to address the issues confronting the actor, in particular, anxiety associated with erratic employment, vulnerability to adverse working conditions, and conflict in identity owing to the impact of acting coupled with the effect of economic insecurity. Second, the paper follows with a consideration of key counselling theories to help strengthen this diverse group’s personal well-being and career prospects. By examining counselling interventions, the application of these theories can allow actors to develop optimally in acting industries worldwide.
This article examines communication practices within two Australian actor training institutions, investigating strategies employed by actor-trainers to build resilience in students. The study suggests that resilience is beneficial to acting students for two key reasons: (1) to help them navigate the challenges within conservatory-style actor-training institutions and (2) to prepare them for industry-related challenges. The research adopted a qualitative, semi-inductive design and employed semi-structured interviews that were conducted with four trainers and four third-year acting students (in total) from two Australian actor-training institutions. Thematic content analysis was used to analyze the data. The study found that all participants placed value on the role of resilience in both training and in the acting profession. The trainers were able to describe strategies and language used in order to cultivate wellbeing and resilience in their students. Some discrepancies were found between the students’ experiences and the trainers’ intentions. Although some institutional practices are in place to attend to student wellbeing and resilience, more might be done at an institutional level to support both trainers and students.
This article focuses specifically on drama and theatre higher education (HE) programmes and preparation for potential graduate work. The article investigates working in the creative industries and in the performing arts (particularly within acting) and how HE students in the United Kingdom prepare for this life. The growth of the creative industries and successful applied drama in the public and private sectors has also brought business interest in how drama and theatre processes can benefit other workplaces, outside of the creative arts. The article addresses current policy, initiatives and partnerships to broaden inclusion and access to creative work. The research explores drama undergraduate degrees and the university’s role in supporting a successful transition from HE to graduate work. Students perceive the university world as safe and the graduate world as precarious and unsafe. The research findings have resonance with other undergraduate degrees, outside of the arts and the role the university plays in student transitions from the university to the graduate environment.
This article seeks to illuminate questions of mental health in tertiary-level musical theatre training. Professional performing artists, students of singing, dance and acting, as well as undergraduate university students are all at greater risk of mental health problems than the general population. At the nexus of these domains is the tertiary-level musical theatre student. Through a survey conducted with recent musical theatre graduates in Australia, this study investigated the impact of tertiary-level musical theatre study on the psychological wellbeing of its students, identifying relevant stressors and mitigating factors. The results demonstrate a higher instance of mental health concerns in this cohort than the general population and other tertiary-level groups. Some solutions to mitigate the issue are presented.
The Heart of Teaching is a book about teaching and learning in the performing arts. Its focus is on the inner dynamics of teaching: the processes by which teachers can promote—or undermine—creativity itself. It covers the many issues that teachers, directors and choreographers experience, from the frustrations of dealing with silent students and helping young artists ‘unlearn’ their inhibitions, to problems of resistance, judgment and race in the classroom,.
Suzanne Burgoyne Dieckman is Associate Professor of Theatre in the Department of Theatre at the University of Missouri, Columbia.
1. Dyer, who insists that "a profession requires commitment to ethical principles," includes a chart illustrating "the process of professionalization of a number of professions and would-be professions in the United States. It demonstrates that the route to professional status includes the establishment of university training programs, the formation of professional organizations, and the presence of formal codes of ethics;" this chart includes the "established" professions such as Law and Medicine, "new" professions such as city management, and even "doubtful" professions such as funeral direction; theatre is not on the list (18-19).
2. In his interdisciplinary study of witchcraft, Demos points out that the "tendency to 'project,' to 'scapegoat,' to extrude that which individuals (or groups) define as bad," is a primary characteristic of the witchcraft phenomenon in all cultures (13); Miller's portrayal of projection is clearly written into the play; as he expresses it in his autobiography, "It was this ricocheting of the 'cleansing' idea that drew me on day after day, this projection of one's own vileness onto others in order to wipe it out with their blood" (Timebends 337).
3. Other examples of the equation of cold and fear include Mary Warren's description of the trance experience: "I feel a misty coldness climbin' up my back" (57); in the courtroom, the girls complain of freezing as they go into trance; and observers note that their flesh turns cold.
4. Other examples include Proctor's comment that Elizabeth's "justice would freeze beer" (55), and Elizabeth's eventual admission that "It were a cold house I kept" (137); the poetic association of fear with cold has a physiological basis: stress management studies reveal that tension lowers body temperature, while relaxation raises it; psychologist Rollo May confirms Miller's depiction of the relationship between repression and violence with his observation that "violence is the end result of repressed anger and rage, combined with constant fear" (26).
5. Miller's depiction of the transformation of love into hate proceeds from "that humane if not humanistic conception of man as being essentially innocent while the evil in him represents but a perversion of his frustrated love" (167).
6. See, for instance, Miller's Salesman in Beijing (60-61). Directing Salesman in China, Miller constantly resorts to analogy as he helps actors find Chinese parallels for the American behavior of the characters. In this instance, he draws an analogy between Willy's refusal to hear Biff's bad news and the Chinese refusal to face the catastrophe of the Cultural Revolution.
7. Of course, sometimes the director's choice to cast an actor because of personal parallels with the character is deliberate. For instance, Miller comments that Elia Kazan "cast Ed Begley to play the father, Keller, in All My Sons not only because Begley was a good actor . . . but because he was a reformed alchoholic and still carried the alcoholic's guilt. Keller is, of course, a guilty man, although not an alcoholic; thus traits could be matched while their causes were completely unrelated"; such casting may be effective theatrical practice, but the question still remains whether or not it is ethical directorial behavior; the issue seems to me most problematic in the case of student actors who may not consciously be aware of aspects of themselves that parallel those of the character; as Miller points out, "Kazan's capacity to objectify actors' personalities was really an exercise in clinical psychology" (Timebends 133; 217).
8. Miller's incorporation of the sexual theme into the play is based upon his study of the original source materials on the Salem trials: "Almost every testimony I had read revealed the sexual theme, either open or barely concealed . . . The relief that came to those who testified was orgasmic; they were actually encouraged in open court to talk about their sharing a bed with someone they weren't married to" (Timebends 340-41).
9. Marion Woodman suggests that the shadow side, the "witch," cannot be faced directly "because she is so angry and so full of repressed energy...
“Closing the gap in curriculum development leadership” is a Carrick-funded University of Queensland project which is designed to address two related gaps in current knowledge and in existing professional development programs for academic staff. The first gap is in our knowledge of curriculum and pedagogical issues as they arise in relation to multi-year sequences of study, such as majors in generalist degrees, or core programs in more structured degrees. While there is considerable knowledge of curriculum and pedagogy at the course or individual unit of study level (e.g. Philosophy I), there is very little properly conceptualised, empirically informed knowledge about student learning (and teaching) over, say, a three-year major sequence in a traditional Arts or Sciences subject. The Carrick-funded project aims to (begin to) fill this gap through bottom-up curriculum development projects across the range of UQ’s offerings. The second gap is in our professional development programs and, indeed, in our recognition and support for the people who are in charge of such multi-year sequences of study. The major convener or program coordinator is not as well supported, in Australian and overseas professional development programs, as the lecturer in charge of a single course (or unit of study). Nor is her work likely to be taken account of in workload calculations or for the purposes of promotion and career advancement more generally. The Carrick-funded project aims to fill this gap by developing, in consultation with crucial stakeholders, amendments to existing university policies and practices. The attached documents provide a useful introduction to the project. For more information, please contact Fred D’Agostino at f.dagostino@uq.edu.au.
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Employment and Employability in the Performing Arts - Panel Discussion
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Acknowledging Trauma/Rethinking Affective Memory: Background, Method, and Challenge for Contemporary Actor Training
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Background, Method, and Challenge for Contemporary Actor Training, Thesis (PhD).
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Teaching Actors: Knowledge Transfer in Actor Training
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Forming (In)vulnerable Bodies: Intercorporeal Experiences in Sites of Actor Training in Australia
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The Gilbert Spottiswood Churchill Fellowship to Study Holistic Healthcare of Actors in Training and in the Workplace
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Trained, Educated or 'Constructed' for Industry? Negotiating the Balance between Educational 'Duty of Care' and 'Industry- Ready' Professionalism, In Performance Studies International #18 Performance: Culture: Industry
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Industry? Negotiating the Balance between Educational 'Duty of Care' and 'Industry-
Ready' Professionalism, In Performance Studies International #18 Performance: Culture:
Industry, 27 June– 1 July 2012, Leeds.
Telling Tales Within School: Representing Human Suffering, Distress, and/or Violence in Post-Secondary Acting Programs
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Distress, and/or Violence in Post-Secondary Acting Programs, In Association for
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Engagement: Advocate, Collaborate, Educate, 2 -5 August 2012, Washington, DC.
The Radiant Performer
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Healthy Performance -Training and Health Care for Successful Acting Careers
- H Balk
Balk, H., 1991. The Radiant Performer. Minneapolis: University of Minnesota Press.
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Successful Acting Careers [online]. Available from: http://bapam.org.uk/news/trainingand-health-care-for-successful-actor/#respond [Accessed 12 Nov 2014].
Sometimes We Are Treated Quite Well’: Mental Health, Stress and Distress in the Entertainment Industry - A
- Burdonm
- Jossc
- Kerrl
- Moorer
Burdon, M., Joss, C., Kerr, L. and Moore, R., 2014. 'Sometimes We Are Treated Quite Well':
Mental Health, Stress and Distress in the Entertainment Industry -A Report,
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documents/mental-health-report-sometimes-we-re-treated-quite-well/ [accessed 17
Nov. 2014].
Healthy Performance - Training and Health Care for Successful Acting Careers
- U K Drama
Drama UK, October 2013. Healthy Performance -Training and Health Care for Successful
Acting Careers [online], Available from: http://www.dramauk.co.uk/articles/healthy_
performance-_training_and_health_care_for_successful_acting_careers [Accessed
10 Nov 2014].
The Actors' Wellbeing Study
- I Maxwell
- M Seton
- M Szabó
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www.equityfoundation.org.au/actors-well-being-study.html [Accessed 10 Nov 2014].
Professional Actors' Health and Wellbeing -Initial Findings from National Survey
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Seton, M., Maxwell, I. and Szabó, M., 2013. Professional Actors' Health and Wellbeing -Initial Findings from National Survey 2013, 2013 Annual Conference, Australian Society
for Performing Arts Healthcare, 23 -24 Nov 2013, Brisbane.
Trained, Educated or ‘Constructed’ for Industry? Negotiating the Balance between Educational ‘Duty of Care’ and ‘Industry-Ready’ Professionalism
- Setonm
- Priorr
- Petherbridged
Seton, M., Prior, R. and Petherbridge, D., 2012. Trained, Educated or 'Constructed' for
Industry? Negotiating the Balance between Educational 'Duty of Care' and 'Industry-Ready' Professionalism, In Performance Studies International #18 Performance: Culture:
Industry, 27 June-1 July 2012, Leeds.
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- Bapam News
The Actors' Wellbeing Study
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Closing the Gap in Curriculum Leadership
- Agostinof O'brienm
Professional Actors' Health and Wellbeing - Initial Findings from National Survey
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- Maxwelli
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