Degree

Doctor of Philosophy (PhD)

Department

Theatre

Document Type

Dissertation

Abstract

In recent years, higher education personnel across the country have referred to the pervasiveness of mental health challenges on college campuses as an epidemic. Students majoring in theatre and performance are no exception. This dissertation examines the unique factors of actor training programs and their impact on student actors’ mental health and well-being. Many traditional actor training programs have long upheld the notion that great artistry requires personal sacrifices, which include a lack of work-life balance and, at times, practices that blur the boundaries between life and art. I argue that actor training programs have failed to evolve alongside current societal and mental health trends. Like Suzanne Burgoyne Diekman, Mark Seton, and Scott Magelssen, I use historiographical analysis to show how outdated training practices encourage more significant emotional labor and a merging of personal and professional life, thus increasing the possibility of psychological distress, burnout, and, in some cases, re-traumatization. Using a recently conducted pilot study with intimacy choreography as a blueprint, this dissertation differs from previous scholarship in that it explores tangible ways to integrate ethical pedagogy, using consent-based and trauma-informed practices, into an already established actor training curriculum. With resources lacking and numbers growing, student actors need intentional opportunities to learn boundary-setting, self-care, and coping skills to manage stress related to their unique training environment. Providing student actors with occasion to improve these skills can mitigate stress and assist them in autonomously reducing mental health challenges and improving their well-being.

Date

4-2-2025

Committee Chair

Walsh, Shannon

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