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Cited by

• 2007An Enactive Approach to Understanding Acting41 cited
• 2014The Method behind the madness: Katie Mitchell, Stanislavski, and the classics19 cited
• 2020Multimodal Acting and Performing16 cited
• 2008Tonality as Drama : Closure and Interruption in Four Twentieth-Century American Operas13 cited
• 2010‘The Reality of Doing’: Meisner Technique and British Actor training13 cited
• 2019Embodied Cognition in Performance: The Impact of Michael Chekhov’s Acting Exercises on Affect and Height Perception8 cited
• 2015Exploring Bodily Reactions: Embodied Pedagogy as an Alternative for Conventional Paradigms of Acting in Youth Theatre Education8 cited
• 2011Twenty-first-century Russian actor training: Active Analysis in the UK7 cited
• 2017Probing the Heart and Mind of the Viewer: Scientific Studies of Film and Theater Spectators in the Soviet Union, 1917–19366 cited
• 2019Cultural transmission of actor training techniques: a research project6 cited
• 2014Psychophysical disciplines and the development of reflexivity6 cited
• 2015Bodily education in modernist culture – freedom and commodification5 cited
• 2019Exploring impulse work and active analysis in practice5 cited