Endnotes
Preface
1.http://www.telegraph.co.uk/culture/theatre/theatrenews/10268514/Michael-Gambons-stage-fright-shows-actors-deserv e-respect.html; http://www.dailymail.co.uk/tvshowbiz/article-2403635/Quentin-Letts-Stage-fright-Laurence-Olivier-Benedict-Cumberbatch-Michael-Gambon.html; http://www.thetimes.co.uk/tto/arts/stage/theatre/article3853070.ece.
2.Laurence Olivier, On Acting (New York: Simon and Schuster, 1986), p. 183.
3.Sara Solovitch, Playing Scared: My Journey Through Stage Fright (London: Bloomsbury, 2015).
Introduction
4.Stephen Wangh, An Acrobat of the Heart (New York: Vintage, 2000), p. 73.
5.Adolph Kielblock, The Stage Fright, or How to Face an Audience (Boston: Press of Geo. H. Ellis, 1891), cited by Nicholas Ridout, Stage Fright, Animals and Other Theatrical Problems (Cambridge: Cambridge University Press, 2006), p. 56.
6.Taylor Clark, Nerve: Poise Under Pressure, Serenity Under Stress and the Brave New Science of Fear and Cool (New York: Little, Brown and Company, 2011), p. 13.
7.Ibid., p. 65.
8.Don Green, Audition Success (New York: Routledge, 2001), p. 23.
9.Sian Beilock, Choke: What the Secrets of the Brain Reveal About Getting It Right When You Have To (New York: Free Press, 2010), p. 160.
10.Clark (2011), p. 82.
11.Stefan Klein, The Science of Happiness: How our Brains Make us Happy – and What We Can Do to Get Happier (New York: Marlowe & Company, 2006), p. 153.
12.Neurologist Dr Dee Silver describes how ‘Panic attacks are experienced in people who are fearful of having no control to protect or manage an event, that is being experienced. It is not realised by people experiencing panic attacks that the event actually presents no danger to anyone. Treatment for panic attacks, anxiety and fear is multiple, but cognitive therapy, medications and psychotherapy can be used to dampen the response to the attack or understand why the attack occurs.’ (Personal correspondence between Dr Silver and the author, November 2015.)
13.Interview with Richard Seer, San Diego, California, August 2011.
14.Interview with Tim Orr, Boulder, Colorado, August 2012.
15.Estelle Barrett & Barbara Bolt (eds.), Practice as Research: Approaches to Creative Arts Enquiry (New York: I. B. Tauris, 2010), p. 4.
16.Cited in Mike Berry and Michael R. Edelstein (eds.), Stage Fright: 40 Stars Tell You How They Beat America’s #1 Fear (Tuscon, Arizona: See Sharp Press, 2009), p. 46.
Chapter 1
17.Olivier (1986), p. 181.
18.Sun Tzu, The Art of War, trans. Samuel B. Griffith (London: Watkins Publishing, 2005), p. 125.
19.Antony Sher, Primo Time (London: Nick Hern Books, 2005), p. 59.
20.Donald Kaplan, ‘On Stage Fright’, TDR 14.1 (1969), cited by Ridout (2006), p. 59.
21.Anton Chekhov, The Seagull, trans. Michael Frayn (London: Methuen, 1986), p. 64.
22.Ridout (2006), p. 59.
23.Clark (2011), p. 168.
24.Klein (2006), p. 248.
25.Ibid., p. 254.
26.Antony Sher, Beside Myself (London: Arrow Books, 2001), p. 127.
27.Cited by Solovitch (2015), p. 160.
28.Cited in Clark (2011), p. 202.
29.Stephen Nachmanovitch, Free Play: Improvisation in Life and Art (New York: Tarcher Penguin, 1990), p. 138.
30.Edward W.L. Smith cited in Robert B. Marchesani & E. Mark Stern (eds.), Frightful Stages: From the Primitive to the Therapeutic (New York: Haworth Press, Inc., 2001), p. 113.
31.Glen O. Gabbard on self-enthrallment, cited by Ridout (2006), p. 61.
32.Solovitch (2015), p. 30.
33.Beilock (2010), pp. 5–6.
34.Alvin R. Mahrer, ‘You Will Have These Awe-Full Moments When You Have Your Own Experiential Session’, cited in Marchesani & Stern (eds.) (2001) p. 139.
35.Beilock (2010), p. 252. [My emphasis.]
36.Ibid., p. 254. [My emphasis.]
37.Cited in Clark (2011), p. 136.
38.Ibid., pp. 12, 15, 16.
39.Ibid., p. 136.
40.Eric R. Kandel, In Search of Memory: The Emergence of the New Science of the Mind (New York: W. W. Norton and Company, 2006), p. 388.
41.Ibid., p. 342.
42.Clark (2011), p. 181.
43.Ibid., p. 244.
44.Ibid., p. 65.
45.David Roland, The Confident Performer (London: Nick Hern Books, 2001), p. 22.
46.Beilock (2010), p. 153.
47.Klein (2006), p. 188.
48.Antonio R. Damasio, Self Comes to Mind: Constructing the Conscious Brain (New York: Pantheon, 2010), p. 210.
49.Antonio R. Damasio, The Feeling of What Happens: Body and Emotion in the Making of Consciousness (New York: Harcourt Brace, 1999), p. 225.
50.Ibid.
51.Joseph Chaikin, The Presence of the Actor (New York: Theatre Communications Group, 1991), p. 21.
52.Constantin Stanislavski, Building a Character, trans. Elizabeth Reynolds Hapgood (London: Methuen, 2002), p. 21.
53.Mihaly Csikszentmihalyi, Flow: The Psychology of Optimal Experience (New York: HarperCollins Publishers, 2008), p. 37.
54.Stephen Aaron, Stage Fright: Its Role in Acting (Chicago: University of Chicago, 1986), p. 65.
55.Kirk J. Schneider, ‘Standing in Awe: The Cosmic Dimensions of Effective Psychotherapy,’ cited in Marchesani & Stern (eds.) (2001) p. 126.
56.Cited by Berry and Edelstein (eds.) Stage Fright: 40 Stars Tell You How They Beat America’s #1 Fear (Tucson, Arizona: See Sharp Press, 2009), p. 103.
57.Olivier (1986), p. 186.
58.Ingemar Lindh, Stepping Stones, trans. Benno Plassmann, Marlene Schranz & Magdelena Pietruska (Wroclow: Icarus Publishers, 2010), p. 10.
59.David Mamet, True and False: Heresy and Common Sense for the Actor (London: Faber and Faber, 1998), p. 30.
60.Nachmanovitch (1990), p. 166.
61.Mamet (1998), p. 59.
62.Cited by Berry and Edelstein (eds.) (2009), p. 101.
63.Jean Benedetti, Stanislavsky: His Life and Art (London: Methuen, 1999), p. 40.
64.Constantin Stanislavski, An Actor Prepares, trans. Elizabeth Reynolds Hapgood, Bloomsbury Revelations Edition (London: Bloomsbury, 2013), p. 6.
65.Cited by Benedetti (1999), p. 228 from Sobranie Sochinenii Volume VII pp. 610, 611.
66.Ibid.
67.Rose Whyman, Stanislavski: The Basics (Abingdon: Routledge, 2013), p. 11.
68.Ridout (2006), p. 40.
69.Lee Strasberg, The Dream of Passion: The Development of the Method (London: Methuen, 1989), p. 57.
70.Ibid., p. 101.
Chapter 2
71.Cited by Donald Spoto in Marilyn Monroe: A biography (New York: Cooper Square Press, 1993), p. 265.
72.Ridout (2006), p. 3.
73.Elias Canetti, Crowds and Power, trans. Carol Stewart (New York: Farrer, Straus and Giroux, 1984), p. 26.
74.Ian McKellen, ‘I Always Wanted to be on Broadway’, The New York Times, 27 September 1981, cited by Jane Goodall, Stage Presence (Abingdon: Routledge, 2008), p. 31.
75.Stanislavski (2013), p. 9.
76.Cited by Maria Ignatieva, Stanislavsky and Female Actors: Women in Stanislavsky’s Life and Art (Lanham: University Press of America, 2008), p. 42.
77.Ridout (2006), pp. 85–9.
78.Goodall (2008), p. 153.
79.http://www.chinatopix.com/articles/61118/20150810/benedict-cumberbatch-mortified-by-audiences-avid-filming-as-he-stages-hamlet.htm#ixzz3iReu5TFP.
80.http://www.playbill.com/news/article/patti-lupone-putting-battle-gear-on-questions-stage-career-after-cell-phone-incident-352959.
81.Tiffany Stern, Rehearsals from Shakespeare to Sheridan (Oxford: Oxford University Press, 2000), p. 113.
82.Peter Hall, ‘Godotmania’, http://www.theguardian.com/stage/2003/jan/04/theatre.beckettat100.
83.Dan Rebellato, 1956 and All That (London: Routledge, 1999), p. 107.
84.Ibid., p. 112.
85.Stanislavski (2013), p. 69.
86.Ian McKellen, ‘The Awful Hell of Stage Fright’, The Times, February 1996.
87.http://latimesblogs.latimes.com/technology/2011/12/theaters-tweet-seats-twitter.html.
88.Sher (2001), p. 178.
89.Ibid.
90.Aaron (1986), p. 68.
91.Michael Billington, ‘My showdown with Nick Hytner’, Guardian, May 21 2007.
92.Helen Freshwater in Theatre and Audience (Basingstoke: Palgrave Macmillan, 2009), p. 3.
93.Chaikin (1991), p. 140.
94.Bruce McConachie, Theatre and Mind (Basingstoke: Palgrave MacMillan, 2013), p, 15.
95.Ibid., pp. 15–16. [My emphasis.]
96.Ibid., p. 16.
97.Cited in Berry and Edelstein (eds.) (2009), p.93.
98.www.thefreelibrary.com/Rebirth+of+renaissance+man%3B+As+well+as+appearing+in+three+of…-a065212740.
99.Ibid.
100.Cited by Berry and Edelstein (eds.) (2009), p. 103.
Chapter 3
101.Derek Jacobi, As Luck Would Have It (London: HarperCollins Publishers, 2013), p. 224.
102.Michael Crawford in Sydney Morning Herald, May 5 1992, cited by Roland (2001), p. 3.
103.S.W. Little & A. Cantor, The Playmakers (New York: W.W. Norton & Company, 1970), p. 111, cited by Aaron (1986), p.71.
104. Cited in Berry and Edelstein (2009), p. 244.
105.Interview with Donald Carrier, San Diego, August 2011.
106.Damasio (1999), p. 220. [My emphasis.]
107.Cited in Jonathan K. Foster, Memory: A Very Short Introduction (Oxford: Oxford University Press, 2009), p. 2.
108.Email correspondence with Tanya Moodie, March 2015.
109.Foster (2009), p. 28.
110.Ibid., p. 29.
111.Personal correspondence with Dr Dee Silver, November 2015.
112.Ibid.
113.http://www.bbc.com/news/health-16086233.
114.Damasio (2010), p. 87.
115.Klein (2006), p. 62. [My emphasis.]
116.Interview with Jonno Roberts, San Diego, August 2011.
117.Interview with Jay Whittaker, San Diego, August 2011.
118.Foster (2009) pp. 118–9.
119.Ibid., p. 119.
120.Ibid..
121.Email correspondence with Tanya Moodie, March 2015.
122.Sher (2001), p. 143.
123.Foster (2009) p. 118. [My emphasis.]
124.Ibid., p. 120.
125.Ibid. p. 121.
126.Larry. R. Squire, & Eric R. Kandel, Memory: From Mind to Molecules (New York: Scientific American Library, 2000), p. 26.
127.http://www.huffingtonpost.com/2014/05/15/robert-duvall-marlonbrando-cue-cards_n_5331270.html.
128.For an in-depth discussion of this, see Frances A. Yates’s wonderful book, The Art of Memory (London: Pimlico, 1998) pp. 135–74.
129.De Witt’s drawing is for the Swan Theatre, though it provides some possibilities of what Shakespeare’s Globe may have looked like. Although de Witt’s sketch doesn’t show the five columns, etc., a detailed description of Fludd’s work and his impact of theatre architecture can be found in Yates (1998), pp. 310–54.
130.Clark (2011), p. 36.
131.Ibid., p. 41.
132.Psychologist Michael Davis cited by Clark, Ibid., p. 45.
133.Ibid., p. 46.
134.Cited in Solovitch (2015), p. 82.
135.Interview with Sam Graham, Leeds, May 2004.
136.Ibid.
137.Ibid.
138.Ibid.
139.Sher (2001), p. 128.
140.Interview with Matthew Dunster, Oxford, May 2004.
141.Kenneth Branagh, Beginning (London: Pan Books, 1990), p. 94.
142.Squire & Kandel (2000), p. 48.
143.Ibid.
144.Klein (2006), p. 62.
145.Ibid., p. 37.
146.Cited in Solovitch (2015), p. 186.
147.Klein (2006), p. 68.
148.Jacobi (2013), p. 227.
149.Ibid., pp. 231–2. [My emphasis.]
150.Interview with Donald Carrier, San Diego, August 2011.
Chapter 4
151.Robert Benedetti, The Actor At Work, 7th edition (New York: Alyn and Bacon, 1997), p. 220. [My emphasis.]
152.Max Stafford-Clark, Letters to George (London: Nick Hern Books, 1997), p. 40.
153.Skype interview with Mike Alfreds, London–Los Angeles, April 2015.
154.Mike Alfreds, Different Every Night: Freeing the Actor (London: Nick Hern Books, 2007), p. 313.
155.Sher (2001), p. 141.
156.Email correspondence with Rufus Norris, April 2015.
157.Skype interview with Mike Alfreds, London–Los Angeles, April 2015.
158.Alfreds (2007), pp. 313–334, in which he address actors’ fears and directors’ fears.
159.Sher (2001), pp. 118–9.
160.Skype interview with Mike Alfreds, London–Los Angeles, April 2015.
161.Aaron (1986), p. 3.
162.Iain McGilchrist, The Master and His Emissary: The Divided Brain and the Meaning of the Western World (New York: Yale University Press, reprint edition 2012).
163.Interview with Miles Anderson, August 2011.
164.Glen O. Gabbard, ‘Stage Fright’, International Journal of Psychoanalysis, 60 (1979), p. 390, cited by Ridout (2006), p. 60.
165.Interview with John Cariani, San Diego, August 2011.
166.https://www.youtube.com/watch?v=9e-ud9zhVuc.
167.http://www.vanityfair.com/hollywood/2015/08/benedict-cumberbatch-hamlet-leaks.
168.Skype interview with Mike Alfreds, London–Los Angeles, April 2015.
169.Cited by Jean Benedetti (ed. & trans.), Moscow Art Theatre Letters (London: Methuen, 1991), p. 155.
170.David Magarshack, Stanislavsky: A Life (London: Faber and Faber, 1986), p. 415.
171.Interview with Don Carrier, San Diego, August 2011.
172.Ibid.
173.Ibid.
174.Ibid.
175.Sher (2001), p. 148.
176.Interview with John Cariani, San Diego, August 2011.
177.Email correspondence with Max Stafford-Clark, April 2015.
178.Email correspondence with Tanya Moodie, April 2015.
179.Konstantin Stanislavsky, cited by Rose Whyman, The Stanislavsky System of Acting (Cambridge: Cambridge University Press, 2008), p. 254.
180.Interview with Jay Whittaker, San Diego, August 2011.
181.Ibid.
182.Jacobi (2013), p. 223.
183.Cited by Clark (2011), p. 237.
184.Ibid., pp. 237, 238.
185.Solovitch (2015), p. 76.
186.Cited by Oliver Ford Davies, Performing Shakespeare (London: Nick Hern Books, 2007), p. 217.
187.Wangh (2000) p. 73. [My emphasis.]
188.Ibid., p. 124.
189.Ibid.
190.Cited by Ford Davies (2007), p. 164.
191.Ibid.
192.Ridout (2006). p. 59.
193.Wangh (2000) pp. 72–73.
194.Cited by Berry and Edelstein (eds.) (2009), p. 103.
Chapter 5
195.Cited by Berry and Edelstein (eds.) (2009), p. 101.
196.Equity and Spotlight Professional Development Day, May 2014, Los Angeles.
197.Sun Tzu (2005), p. 217.
198.David Roland’s The Confident Performer (London: Nick Hern Books, 2001), is a lively and useful resource detailing the components of good nutrition, sleep and exercise.
199.Daniel G. Amen, Making a Good Brain Great (New York: Three Rivers Press, 2005), p. 16.
200.Sher (2001), p. 160.
201.Clark (2011), p. 254.
202.Roland (2001), p. 25.
203.Lindh (2010), p. 96.
204.Wangh (2000), pp. 26, 36.
205.Interview with Matthew Dunster, Oxford, May 2004.
206.Bella Merlin, The Complete Stanislavsky Toolkit (London: Nick Hern Books, 2nd Edition, 2014).
207.Beilock (2010), p. 57.
208.Foster (2009), pp. 59–60.
209.Ibid, p. 51.
210.Ibid., p. 50.
211.Cited in Berry and Edelstein (eds.) (2009), pp. 89–90.
212.Clark (2011), p. 274.
213.Skype interview with David Annen, London–Los Angeles, August 2014.
214.Ibid.
215.Amen (2005), p. 147. [My emphasis.]
216.Ibid.
217.Skype interview with David Annen, London–Los Angeles, August 2014.
218.Ibid.
219.Mihaly Csikszentmihalyi, Flow: the psychology of optimal experience, New York: HarperPerennial, 1990), p. 3.
220.Interview with Jonno Roberts, San Diego, August 2011.
221.Interview with Jay Whittaker, San Diego, August 2011.
222.Beilock (2010), p. 130.
223.Clark (2011), p. 71.
224.Ibid., p. 266.
225.Mihaly Csikszentmihalyi, Creativity: Flow and the Psychology of Discovery and Invention (New York: HarperPerennial, 1997), p. 11.
226.Nachmanovitch (1990), p. 154.
227.Ibid., p. 158.
228.Green (2001), p. 23.
229.Roland (2001) p. 14.
230.Green (2001), p. 30.
231.Cited by Clark (2011), p. 125.
232.Ibid.
233.Nick Hern, private correspondence, April 2015.
234.Michael Shurtleff, Audition: Everything an Actor Needs to Know to Get the Part (New York: Walker and Company, 1978), p. 114.
235.Ibid., p. 4.
236.Alfreds (2007), pp. 330–1.
Debrief
237.Sun Tzu (2005), p. 93.
238.See Giovanna Colombetti’s compelling study of the enactive approach in The Feeling Body: Affective Science Meets the Enactive Mind (Massachusetts: MIT Press, 2014).