As with any book that endeavors to break fresh ground, Psychology for Actors was made stronger and more complete by the contributions of several individuals and institutions. I cannot thank them enough, but I can acknowledge their assistance and generosity in making this effort possible.
First, to my multiple mentors in both psychology and acting. I would like to thank and acknowledge, in particular, the following individuals and institutions. In no particular order: James Fadiman and Robert Frager, both, at one time or another, from the Institute of Transpersonal Psychology. Ken Wilber of the Integral Institute (and the Red Rooster Restaurant . . . ). Kevin Paul Hofeditz, who first taught me movement for the stage and is now teaching me movement for academia.
My fearless editor at Routledge, Stacey Walker, and our wonderful editorial assistant, Lucia Accorsi.
Hillevi Ruumet, for guidance and editorial help with the psychology material.
Richard Feldman from the Julliard School. And the numerous master acting teachers I interviewed during 2017 that pointed out the need for a book such as this: Rhonda Blair, Jack Greenman, and Blake Hackler, all from SMU Meadows School of the Arts. Lucy Skilbeck, Director of Actor Training at the Royal Academy of Dramatic Art (RADA). Kristin Linklater, master voice teacher and author of Freeing the Natural Voice, as well as the Founder and Director of the Kristin Linklater Voice Centre in Orkney, Scotland. Catherine Fitzmaurice, creator of Fitzmaurice Voicework and Saul Kotzubei, who, in addition to being Catherine’s son, also runs the Fitzmaurice Institute. Phillip Zarrilli, master acting teacher and cultivator of consciousness. Scott Illingworth and Mark Wing-Davey, Theatre Department Chair and Arts Professor at NYU’s Tisch School of the Arts. Sharon M. Carnicke, author of Stanislavsky in Focus: An Acting Master for the Twenty-First Century (2nd ed., Routledge, 2009), Natsuko Ohama, and preeminent actor David Warshofsky, all from the USC School of Dramatic Arts. Barbara Marchant and Danielle Liccardo-Massood from Rutgers’ Mason Gross School of the Arts. Tony McKay of Carnegie Mellon University. Melissa Smith, Conservatory Director of the American Conservatory Theater. Josh Foldy from North Carolina School of the Arts. Peter Zazzali, Assistant Professor and Artistic Director of Kansas Repertory Theatre at the University of Kansas. R. Andrew White, Professor of Theatre at Valparaiso University. John Lutterbie and Amy Cook from Stony Brook University. Neal Utterback from Juniata College. Rick Kemp, Head of Acting and Directing at Indiana University of Pennsylvania and author of the awesome Embodied Acting: What Neuroscience Tells Us About Performance (Routledge, 2012).
A special thanks to the many authors, theorists, and publishers who have allowed me to quote from their copyrighted work in building my own case (parenthetical dates represent year of copyright notice):
Carnicke, S. M. (2009). Stanislavsky in Focus: An Acting Master for the Twenty-First Century (2nd ed.). London/New York: Routledge. Reprinted with permission of Routledge.
Erikson, E. H. (1964). Childhood and Society (2nd ed.). New York: W. W. Norton & Co. Reprinted with permission of W. W. Norton & Co.
Frager, R., & Fadiman, J. (2005). Personality and Personal Growth (6th ed.). New York: Pearson Education. Reprinted by permission of Pearson Education, Inc.
Gurung, R. A. R., Hackathorn, J., Enns, C., Frantz, S., Cacioppo, J. T., Loop, T., & Freeman, J. E. (2016). Strengthening introductory psychology: a new model for teaching the introductory course. American Psychologist, 71(2), 112–124. doi:10.1037/a0040012
Horney, K. (1939). New Ways in Psychoanalysis. New York: W. W. Norton & Co. Reprinted by permission of W. W. Norton & Co.
Jung, C. G., Excerpt(s) from Memories, Dreams, Reflections, translated by Richard and Clara Winston, edited by Aniela Jaffe, translation copyright © 1961, 1962, 1963 and renewed 1989, 1990, 1991 by Penguin Random House LLC. Used by permission of Pantheon Books, an imprint of the Knopf Doubleday Publishing Group, a division of Penguin Random House LLC. All rights reserved.
Jung, C. G., & Shamdasani, S. (2009). The Red Book: Liber Novus. New York: W.W. Norton & Co. Reprinted by permission of W. W. Norton & Co.
Maslow, A. H., & Frager, R. (1987). Motivation and Personality (3rd ed.). New York: Harper & Row. © 1954, 1987 by Harper & Row, Publishers, Inc.; Reprinted by permission of Pearson Education, Inc.
Maslow, A. H., & Frager, R. (1970). Motivation and Personality (2nd ed.). New York: Harper & Row. © 1954 by Harper & Row, Publishers, Inc., 1970 by Abraham H. Maslow; Reprinted by permission of Pearson Education, Inc.
Maslow, A. H. (1968). Toward a Psychology of Being. Hoboken, NJ: Wiley. Republished with permission of John Wiley & Sons, Inc., from permission conveyed through Copyright Clearance Center, Inc.
Stanislavsky, K., & Benedetti, J. (2008). An Actor’s Work: A Student’s Diary. London/New York: Routledge. Reprinted with permission of Routledge.
Urbina, S. (2014). Essentials of Psychological Testing (2nd ed.). Hoboken, NJ: Wiley. Republished with permission of John Wiley and Sons, Inc., from permission conveyed through Copyright Clearance Center, Inc.
Varela, F. J., Thompson, E., & Rosch, E. (2016). The Embodied Mind: Cognitive Science and Human Experience (rev. ed.). Cambridge, MA/London: MIT Press. Reprinted with permission of MIT Press.
Walach, H. (2013). Criticisms of transpersonal psychology and beyond: the future of transpersonal psychology. In H. L. Friedman & G. Hartelius (Eds.), The Wiley-Blackwell Handbook of Transpersonal Psychology (pp. 62–87). Chichester, UK: Wiley-Blackwell. Reprinted by permission of Wiley-Blackwell.
Zarrilli, P. B., & Hulton, P. (2009). Psychophysical Acting: An Intercultural Approach After Stanislavski. London/New York: Routledge. Reprinted with permission of Routledge.
And finally, my family, Linda, Izzy, Jolie, Joyce, Michael, and Janet, and the personal friends that have supported me (in some cases for decades), you know who you are.