Professional actors learn and generally conduct warm-up processes, which prepare them for the demands of performance. However, they neither learn nor gradually develop post-performance cool-down practices, despite significant activation experienced; this absence is identified as a gap in the actor’s training and practice. During the post-performance phase, actors experience adrenaline rush, hot states (emotions) and visceral drives (hunger, thirst, pain or exhaustion), regularly and up to 8 times a week, for weeks or months at a time. Moreover, established cultural norms require the actors’ engagement in perpetual performance; the blending of artistic and social performance, which further exacerbates their considerable exertion, especially when combined with alcohol, rendering them exposed to disturbed sleep, alcohol dependency and burn-out. In the first part of this paper, the cool-down is located strictly as a post-performance phase, rather than therapy and distinguished from the de-role and the de-brief, whilst six cool-down processes reflected in literature are evaluated. The second part highlights the imbalance between the emerging academic interest in the cool-down and the lack of practice indicated in contemporary professional stage actors, suggesting that training environments could do more to incorporate the concept and practice of the post-performance cool-down for their actors.

专业演员学习并通常进行热身过程，为表演需求做好准备。然而，尽管经历了大量的激活，他们既没有学习也没有逐渐发展出表演后的冷静练习；这种缺席被认为是演员培训和实践的差距。在演出后阶段，演员会定期地、每周最多 8 次、一次持续数周或数月，体验肾上腺素激增、炽热状态（情绪）和内脏冲动（饥饿、口渴、疼痛或疲惫）。此外，既定的文化规范要求演员不断参与；艺术和社会表演的融合，进一步加剧了他们的相当大的消耗，尤其是在与酒精结合时，使他们面临睡眠障碍、酒精依赖和倦怠。在本文的第一部分，冷静被严格定位为表演后阶段，而不是治疗，并与去角色和汇报相区别，同时评估了文献中反映的六个冷静过程。第二部分强调了对冷却的新兴学术兴趣与当代专业舞台演员缺乏实践之间的不平衡，表明培训环境可以做更多的事情来融入表演后冷却的概念和实践。他们的演员。