Psychology for Actors: Theories and Practices for the Acting Process

208 Pages·2018·7.83 MB·english

by  Kevin Page

Psychology for
Actors
Psychology for Actors is a study of modern psychology, specifically
designed for the working actor and actor-in-training, that covers
discrete areas of psychological theory that actors can apply to their
creative process to form and connect with characters. The book inves-
tigates many post-Stanislavsky ideas about human psychology from
some of the twentieth century’s most brilliant minds—from Sigmund
Freud and Carl Jung to Abraham Maslow and Ken Wilber—and
offers step-by-step exercises to help actors understand their characters
and effectively bring them to life on stage or in front of the camera.
Psychology for Actors also offers advice on how to cope with the stresses
and strains of a highly competitive field, and provides tools for deeper
self-awareness and character exploration.
Kevin Page is a seasoned professional actor/writer/theorist with a
back ground in psychology, meditation practices, and consciousness
research. He is the author of Advanced Consciousness Training for Actors
(Routledge, 2018). For more information, please visit www.kevin
page.com.

Psychology for
Actors
Theories and Practices
for the Acting Process
Kevin Page
First published 2019
by Routledge
711 Third Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
 2019 Kevin Page
The right of Kevin Page to be identified as author of this work has
been asserted by him in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or
reproduced or utilised in any form or by any electronic, mechanical,
or other means, now known or hereafter invented, including
photocopying and recording, or in any information storage or retrieval
system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks
or registered trademarks, and are used only for identification and
explanation without intent to infringe.
Library of Congress Cataloging-in-Publication Data
Names: Page, Kevin, 1958- author.
Title: Psychology for actors : theories and practices for the acting
process / Kevin Page.
Description: New York, NY : Routledge, 2019. | Includes
bibliographical references.
Identifiers: LCCN 2018014702| ISBN 9780815352259
(hardback : alk. paper) | ISBN 9780815352266
(paperback : alk. paper) | ISBN 9781351130950 (ebook)
Subjects: LCSH: Acting—Psychological aspects. | Psychology.
Classification: LCC PN2071.P78 P347 2019 | DDC 792.02/8019—dc23
LC record available at https://lccn.loc.gov/2018014702
ISBN: 978-0-8153-5225-9 (hbk)
ISBN: 978-0-8153-5226-6 (pbk)
ISBN: 978-1-351-13095-0 (ebk)
Typeset in Giovanni
by Swales & Willis Ltd, Exeter, Devon, UK
For my father, Dr. Monte M. Page, who both gave and
saved my life.
Thanks, Daddy . . .

Contents
Acknowledgments viii
Introduction: The Psychology of an Actor 1
CHAPTER 1 A Very Brief History of Psychology in the West 15
CHAPTER 2 Two Freuds: Free Association and the Defense
Mechanisms 54
CHAPTER 3 Carl G. Jung: Types, Archetypes, and Dreams 77
CHAPTER 4 Alfred Adler: Inferiority and the Individual 105
CHAPTER 5 Karen Horney: Psychoanalytic Social Theory 120
vii
CHAPTER 6 Erik Erikson: Life Span Development 134
CHAPTER 7 Abraham Maslow: Motivation and Humanistic
Psychology 151
CHAPTER 8 Ken Wilber: Integral Psychology 167
CHAPTER 9 Personality Testing and Pathology 183
Index 203
Acknowledgments
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
viii
editorial assistant, Lucia Accorsi.
Hillevi Ruumet, for guidance and editorial help with the psychol-
ogy material.
Richard Feldman from the Julliard School. And the numerous mas-
ter 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
ix
(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.
ACKNOWLEDGMENTS