Spiritual Care as the Understudy: A Mandate for Soul and Identity Preservation On and Off Stage Open Access

Abstract

This thesis examines the overlooked ramifications of the acting profession from a wellness and theological perspective with caring for the soul as the framework of human identity. It advocates for a new component of practice to be integrated into acting training and role preparation through spiritual care as a preventative measure of holistic health as a performer to mitigate occupational hazards in the arts. The considerations for this examination challenges methodologies of acting and how the culture of the industry contributes to identity crises, non-ethical practices, and spiritual injury. Based on my extensive experience as an actor, employing auto-ethnography with acting methodologies, case studies, and published narrative interviews, I analyzed the praxis of the craft to offer a practical framework for the non-actor to grasp the process of the profession. I argue that because of the raw vulnerability required to act, actors should receive spiritual care throughout the acting process, especially once the role is over and the actor must retain or recapture a true semblance of self. To support my claim for a new and emerging field of spiritual care, I will employ the following: 1) explore the spectrum of spirituality and how it informs daily living; 2) define acting and its varied interpretations, 3) compare acting methodologies and the effects of their practices, 4) analyze the psychology of aacting through case studies, 5) offer glimpses of the acting process from the actor’s perspective, 6) highlight industry culture, language, and ideology that mirrors religiosity with cultic features, 7) address cultural, religious, theological, and spiritual beliefs and practices of the actor that are compromised on the job, and 8) design an innovative practice of preventative soul care and post-performance spiritual repair.

 

 

Table of Contents

Introduction………………………………………………………………………………1

To the audience…………………………………………………………………………12

Spiritual beginnings……………………………………………………………………14

What is acting?.....................................................................................17

Acting Methodologies………………………………………………………………….21

Konstantin Stanislavsky: The Method……………………………………………..22

Michael Chekhov and “the psychological gesture”……………………………...23

Bill Bruehl………………………………………………………………………………...28

Black Acting Method…………………………………………………………………...30

Psychology of Acting……………………………………………………………………34

Australian case study…………………………………………………………………...35

Eric J. Kolb………………………………………………………………………………...39

Forsaking all but acting: The covenant……………………………………………..40

Industry culture and language……………………………………………………….41 

Preventative and Post-Performance Care………………………………………....43

Conclusion………………………………………………………………………………..46

 

Bibliography……………………………………………………………………………...50

About this Master's Thesis

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School	Candler School of Theology
Department	Divinity
Degree	M.Div.
Submission	Master's Thesis
Language	English
Research Field	Theology Theater Spirituality
Keyword	methods holistic human condition psychology performer identity crises soul spiritual care play health multi-cultural character analysis wellness technique acting
Committee Chair / Thesis Advisor	Emmanuel Y. Lartey, Emory University
Committee Members	Amey Victoria Adkins-Jones, Emory University

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