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Cited by

• 2007An Enactive Approach to Understanding Acting41 cited
• 2012“Disciplined Improvisation” in the Rehearsal and Performance of Shakespeare: The Alternative Approach of Mike Alfreds29 cited
• 2015Perezhivanie and the experience of drama, metaxis and meaning making26 cited
• 2004Naturalist and Classical Styles in Early Sound Film Acting20 cited
• 2002Rethinking Feminism, Stanislavsky, and Performance15 cited
• 2010‘The Reality of Doing’: Meisner Technique and British Actor training13 cited
• 2002Reconsidering Stanislavsky: Feeling, Feminism, and the Actor10 cited
• 2016Bringing Authoritative Models to Computational Drama (Encoding Knebel’s Action Analysis)7 cited
• 2011Twenty-first-century Russian actor training: Active Analysis in the UK7 cited
• 2000Method Acting and the Cold War7 cited
• 2011Resisting Rossini, or Marlon Brando plays Figaro6 cited
• 2015Tattvabodhaand the hierarchical necessity of Abraham Maslow6 cited
• 2008Living Tradition: Continuity of Research at the Workcenter of Jerzy Grotowski and Thomas Richards6 cited
• 2008Meeting at La Sapienza: or, On the Cultivation of Onions6 cited