Andrew Davidson is an Australian theatre practitioner and musician with specialisms in actor training and music education. He is a Teaching Fellow in Acting & Musical Theatre at Guildford School of Acting (GSA), University of Surrey, UK. He is the former Head of Dramatic Arts at the Australian Institute of Music (AIM) in Sydney. Andrew is a graduate of Australia’s National Institute of Dramatic Art (NIDA) and of the Longy School of Music in Cambridge, USA. He is a qualified teacher of Dalcroze Eurhythmics and Kodály music education. Andrew directs theatre, writes music, and plays piano for dance. He is also a researcher and educator who presents at conferences and workshops internationally.

Allen, Elizabeth. “Eurhythmics for the Theatre”, Theatre Arts Magazine 3 (1919): 42-50.

Appia, Adolphe. Music and the Art of the Theatre, Coral Gables, FL.: University of Miami Press, 1962.

Beacham, Richard. “Appia, Jaques-Dalcroze, and Hellerau, Part One: ‘Music Made Visible’”, New Theatre Quarterly 60: Volume 15, Part 4 (1985).

Bogart, Anne & Tina Landau. The Viewpoints Book: A Practical Guide to Viewpoints and Composition. New York: Theatre Communications Group, 2005.

Cioffi, Kathleen. “Introduction: Grotowski’s Evolving Influence in Poland”, Mime Journal: Vol. 25, Article 2 (2014). [DOI: 10.5642/ mimejournal.20142501.02]

Davidson, Andrew (2020). “Institut Jaques-Dalcroze and Hellerau.” Interview by Anthony Molinaro. The New Dalcrozian. December 9, 2020. Podcast, 49:00.

Davidson, Andrew. “Konstantin Stanislavski and Emile Jaques-Dalcroze: historical and pedagogical connections between actor training and music education”, Stanislavski Studies, Vol. 9, No. 2 (2021), DOI: 10.1080/20567790.2021.1945811 

Davidson, Andrew. “‘The cycle of creativity’: a case study of the working relationship between a dance teacher and a dance musician in a ballet class”, Research in Dance Education, [2021: online before print] DOI: 10.1080/14647893.2021.1971645 

Davidson, Andrew. “Identifying Eurhythmics in actor training: The Viewpoints of time and space”, Le Rythme: The Artistic Identity of Eurhythmics (2021): 11-18.

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Evans, Mark. Movement Training for the Modern Actor. London: Routledge, 2008.

Fettes, Christopher. A Peopled Labyrinth: The Histrionic Sense: An Analysis of the Actor’s Craft. London: Giles Foreman Centre for Acting, 2015.

Fleming, Christine. “A genealogy of the embodied theatre practices of Suzanne Bing and Michael Chekhov: the use of play in actor training”. Unpublished PhD thesis. De Montfort University, 2013.

Hayes, Janys. “The ‘inter-place’ in actor training: Yat Malmgren’s character analysis”, Conference Paper, University of Otago, 30 June to 3 July, 2008.

Hayes, Janys. The Knowing Body: Yat Malmgren’s Acting Technique. Saarbrücken: Verlag Dr Müller [OmniScriptum], 2010.

Hickie, R. “Scenography as Process in British Devised and Postdramatic Theatre”, Unpublished PhD dissertation. Loughborough University, 2009.

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Hodge, Alison (ed.) Actor Training, 2nd ed. New York: Routledge, 2010.

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Lee, James W. “Dalcroze by Any Other Name: Eurhythmics in Early Modern Theatre and Dance”, Unpublished PhD dissertation. Texas Tech University, 2003.

Mirodan, Vladimir. “The Way of Transformation: The Laban-Malmgren System of Dramatic Character Analysis”, Unpublished PhD dissertation. Royal Holloway College, University of London, 1997.

Morris, Eilon. Rhythm in Acting and Performance: Embodied Approaches and Understandings. London: Bloomsbury Methuen, 2017.

Murphy, Paul. “In the Company of Visionaries: Dalcroze, Laban, and Perrottet”, Dalcroze Society of America Journal, Vol. 41, No. 1 (2014): 8-12.

Odom, Selma. “Bildungsanstalt Jaques-Dalcroze: Portrait of an Institution”, Unpublished PhD dissertation, Tufts University, 1967.

Odom, Selma. “Delsartean Traces in Dalcroze Eurhythmics”, Mime Journal: Vol. 23, Article 9, 2005. DOI: 10.5642/mimejournal.20052301.09

Roesner, David. Musicality in Theatre: Music as Model, Method and Metaphor in Theatre-Making. New York: Routledge, 2014.

Rogers, Clark. “Appia’s Theory of Acting: Eurhythmics for the Stage”, Educational Theatre Journal, Vol. 19, No. 4 (Dec., 1967): 467-472.

Rogers, Clark. “The Influence of Dalcroze Eurhythmics in the Contemporary Theatre”, Unpublished PhD dissertation, Louisiana State University, 1966.

Spector, Irwin. Rhythm and Life: The Work of Emile Jaques-Dalcroze. Stuyvesant, NY: Pendragon Press, 1990.

Strandberg-Long, Philippa. “Mapping Meisner: How Stanislavski’s system influenced Meisner’s process and why it matters to British Drama School training today”, Stanislavski Studies, Vol. 6, No. 1 (2018): 11-19.

Taylor, George & Rose Whyman. “Francois Delsarte, Prince Sergei Volkonsky and Mikhail Chekhov”, Mime Journal, Vol. 23, Article 7, 2015. [DOI: 10.5642/mimejournal.20052301.07]

Thomas, Nathan. “Dalcroze Eurhythmics and Rhythm Training for Actors in American Universities”, Unpublished Doctoral dissertation, Michigan State University, 1995.

Thomas, Nathan. “Dalcroze Eurhythmics and the Theatre”, Unpublished article. <http://www.rodoni.ch/busoni/adriano/dalthea1.html>;

Thomas, Nathan. “Rhythm in Theatrical Art”, Unpublished MA thesis, Michigan State University, 1993.

Volbach, Walther R. “Jacques Copeau, Appia’s Finest Disciple”, Educational Theatre Journal, Vol. 17, No. 3 (Oct. 1965): 206-214.

Volkonsky, Sergei. “Man and Rhythm: The System and School of Jaques-Dalcroze”, The Person on the Stage. n.p., 1913.

Whyman, Rose. “Explanations and Implications of ‘psychophysical’ acting’”, New Theatre Quarterly, Vol. 32, No. 2 (2016): 157-168. [DOI: 10.1017/S0266464X16000051]