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Barnes, M. 2011. Standard speech practices and pedagogy: A snapshot of the moment. Voice and Speech Review 7(1):224-234.

Castillo Arévalo, CT. 2013. Entrenamiento vocal en los grupos teatro la Candelaria y teatro Varasanta, de Bogotá. 

Coccaro, LM. 2012. O percurso da presença como um espaço de trânsito entre estados corpóreos. Anais ABRACE 13(1).

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Donadel, M. 2012. Disponibilidade para criar: o trabalho a partir de Arthur Lessac como preparo para improvisação. MA dissertation.  Universidade Federal do Rio Grande do Sul. Instituto de Artes. Programa de Pós-Graduação em Artes Cênicas.

Elchuk, T. 2018. The Neurobiological Basis of Emotion and Imagination in Relationship to Breath and Guts: Smukler’s Swamp as Case Study. Voice and Speech Review:1-14.

Haarhoff, È. 2018. The use of embodied imagination and empathy to bridge actor–character dissonance. South African Theatre Journal31(1):115-132.

Hurt, M. 2009. Essay: Building the Foundation in Lessac’s Kinesensic Training for Embodied Presence. Voice and Speech Review6(1):100-110.

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Hurt, M. 2014. Arthur Lessac’s Embodied Actor Training. New York: Routledge.

Law, H. 2015. Acting with an Accent: A Practical Exploration of General American Accent vs. British Received Pronunciation via International Phonetic Alphabet Applied to Performance. Honors dissertation. Texas Christian University, Texas.

Lemmer, K & Munro, M. 2011. Lessac’s Structural NRG as an Aid to Zulu Performers’ Production of English Vowels–A preliminary exploration. Voice and Speech Review 7(1):121-131.

Lemmer, K. The actor’s use of the prosodic elements of speech to express clarity and intent in performance. PhD dissertation. University of Pretoria, Pretoria. 

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Masters, B. 2017. The Archeology of Memory: Directing Vigils by Noah Haidle.  Master of Fine Arts. Southern Illinois University at Carbondale.

Mihić, SS, Maich, K, Belcher, C, Perrow, S, Barišić, A & Ramić, NN. 2017. The Role of Bibliotherapy and Therapeutic Storytelling in Creating Inclusive Classroom Communities, in Handbook of Research on Classroom Diversity and Inclusive Education Practice edited by CM Curran & AJ Petersen. Pennsylvania:IGI Global:375-398.

Munro, M.  2018. Principles for embodied learning approaches. South African Theatre Journal 31(1):5-14.

Munro, M & Lemmer, K. 2018. Multilingual Theatre Voice Training in South Africa: Our Translingual Attempt Employing Lessac Kinesensics. Voice and Speech Review 13(2):173-187.

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Pires-Fernandes, C. 2014. The Girl in 14G: Analyzing Solutions for Vocal Issues Through Vocal Pedagogy.Honors dissertation, University of Central Florida, Orlando.

Richardson, A. 2015. Dual-dialects: a study of simultaneous verbal and gestural codes. Voice and Speech Review, 9(2-3):168-178.

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Silva, MAD, Netto, MAG & Fernandes, FV. 2017. Corpo Ancestral: processo de criação do personagem Alboury no “Laboratório de Dramaturgismo e Direção Rotativa de Cenas”. RELACult-Revista Latino-Americana de Estudos em Cultura e Sociedade, 3(2):89-95. 

Steyn, M & Munro, M. 2015. Locating the ‘Voice-As-Object’ and ‘Voice-As-Subject’ for the Entry-Level Theatre Voice Teacher. South African Theatre Journal 28(2):105-116.

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Tocchetto de Oliveira, MR., 2013. Arthur Lessac: Um Ensaio Sobre As Energias Corporais No Treinamento Do Ator. Revista Brasileira de Estudos da Presença [Brazilian Journal on Presence Studies] 3(2):582-600.